Call for papers | Vol. 19 / N° 2
Convocatoria | Call for papers | Chamada
InMediaciones de la Comunicación
Volume 19 / N° 2 (July-December 2024)
We are pleased to inform that the call for papers is open to publish articles in the Volume 19 / Nº2 (July-December 2024) of InMediaciones de la Comunicación, academic journal published since 1998 by Universidad ORT Uruguay.
The purpose is focused on the publication of original and unpublished articles and/or reviews and the dissemination of interviews, essays and research reports that take place in the field of communication and its related disciplines, with special attention to the processes of social mediatization and the study of contemporary media phenomena. Its content is aimed at researchers, professors, undergraduate and postgraduate students and people with an interest in all areas of communication. Before publication, the manuscripts are reviewed, in the first instance, by the Associate Editors and the Academic Committee, made up of experts from different countries, the Guest Editor of each number, and then they are evaluated through the double-blind system with the intervention of external referees.
The journal carries out an open access policy, receives contributions written in Spanish, English and Portuguese and the authors do not have to pay any cost for the processing or publication of the manuscripts. InMediaciones de la Comunicación is published in paper and digital format with the aim of promoting the open publication of manuscripts that are the result of the work carried out by the researchers and giving impetus to the approach of the most diverse topics and problems that cross the field of communication. From the beginning, InMediaciones de la Comunicación assumed the commitment to stimulate the open publication of manuscripts derived from quality research and promoted the approach of the most diverse topics and problems that cross the field of communication. Over the years, it has had the contribution of researchers and academic referents with a recognized professional track record, who provide their views on the debates raised by the permanent renewal of the communication phenomena in Latin America and the world.
Thematic of Volume 19 / N° 2 (July-December 2024)
IMAGES AND MEDIATIZATION
Visual culture, media and digitization
Fundamentals of the Call
This call of InMediaciones de la Comunicación seeks to promote reflection on the hypermediatization of contemporary society, focusing on the new forms of production, circulation and reception of different types of audiovisual images and the forms they acquire in current media regimes.
In the last decades of the 20th century, and mainly at the beginning of the new millennium, there has been a period of profound changes in communications. The new digital technologies and the new Internet-based communication media carried out a profound transformation in the operation of the mass media and, therefore, in the characteristics of media coverage (Verón, 2013). In this context, discourses arose announcing the death of the mass media (such as print media, cinema, radio, photography and television) and the entry into a new era of communications, marked by the post prefix (post-cinema, post-photography, post-television). However, these media have not disappeared, but have entered into a kind of media convergence (Carlón & Scolari, 2009), where centralized and broadcasting type modalities coexist and interrelate with other forms of non-centralized mediatization of horizontal or interconnected character (Fernández, 2021). This peculiar configuration has allowed, in turn, the emergence of new relationships with space and time, the presence of interconnected subjects that produce messages, the development of new forms of access to information, and new ways of producing it, putting it into circulation and receiving it, among other transformations that social life is undergoing.
Within this framework, we understand that the functioning of contemporary media devices is an unavoidable condition for unraveling the various ways of generating meaning and the sociocultural effects linked to the different types of images that are produced, circulated, received and viewed according to the modalities that they enable. The images marked by these forms of mediatization continue to be the subject of debates, exposing with special attention the changes produced in the image production devices after their digitization. In particular, there has been a profuse focus on the emergence of a new visual culture, marked by technological changes in communications that open the way to new forms of production, circulation, and the reception of images (Mitchell, 1992; Robins, 1997; Brea, 2002; Mirzoeff, 2003; Ritchin, 2010; Fontcuberta, 2012; Dubois, 2017; among other references).
Likewise, it has been theorized that the current context of hypermediatization based on increasing digitization makes the present the temporal category by excellence (Carlón, 2016), while the temporal distance between perceptual flows is shortened (Schaeffer, 1990) and, therefore, the time of production, circulation and reception that characterized modernity is altered. At the same time, the very status of certain images has been put into discussion: in the case of photography, for example, it has been postulated that digitization establishes a kind of weak indexicality (Carlón, 2016), where the real photographed is much more easily edited and altered.
The images, then, are no longer produced specifically as a record to make what disappears last, but rather, they suppose a present instance of participation -they are created to be instantly shared on social networks-, and with this we refer not only to the images created for journalistic purposes or that are typical of what is called public news (images that in the past were circulated preferably by the mass media), but also to images that are configured and reconfigured based on the participation of users and which account for another cultural setting. In this sense, the emergence of innovative visual constructs, such as memes, for example, bring into dialogue different contextual knowledge –and others typical of a shared cultural heritage– in which production and circulation from below is central.
The images that individuals produce circulate on the different digital platforms, which provide an unavoidable interpretative framework focused on the possibility of the intervention of other connected users. It would be, as Fontcuberta (2016) affirms, fundamentally conversational images that promote, in turn, the growth of amateur visual practices and the intensification of the self-representation of the body itself (Sibilia, 2008; Prada, 2012). That is to say, a visual culture that exposes new modalities of subjectivization, where what counts is the showing of oneself that unfolds on the screen and allows and promotes the gaze of others.
On the other hand, from the Internet and the appearance of digital media, certain artistic practices have spread and renewed the digital universe, mainly through three operations that, to a large extent, were born and deployed during modernity (Carlón, 2014): intervention, appropriation and assembly. This has given rise to a new and complex relationship between art, the media and social life: these are transformations that even allow the deployment of manifestations that take the Internet as a specific field of appearance and subject of reflection (Prada, 2012), materializing in productions that pay attention to the potential of the different supports, to the virtual communication networks and to the open modes of tangible connectivity. In this way, an attempt has been made to apprehend the immediate, to capture the changing nature of time, spaces, and places, making the media, according to Terry Smith (2012), to be located as a specific current within the vast flow of contemporary art.
This call of InMediaciones de la Comunicación promotes the submission of articles that address these new configurations and that show concern, from the intersection of disciplines, with analyzing and accounting for the tensions and riches offered by contemporary visual culture. Contributions are then invited that, either from a theoretical perspective, from the analysis of specific materialities or case studies, allow us to reflect on the issues raised with the proposal of different approaches.
Axes for the presentation of articles
- Proposals for a theoretical-methodological approach for the study of images on Internet platforms.
- Transformations and continuities in relation to the production, circulation and reception of images in a mediatized context centered on increasing digitization.
- Conformation of collectives and individualities linked to the production of images in different mediatized spaces.
- Proposals that problematize the modalities of subjectivation derived from contemporary visual regimes.
- Emergence of new forms of artistic production through the Internet.
- Problems linked to the access and management of images in digital environments.
Guest editors
Leticia Rigat. PhD in Social Sciences, Universidad de Buenos Aires (Argentina). MA in Cultural Studies, Centro de Estudios Interdisciplinarios, Universidad Nacional de Rosario (Argentina). BA in Social Communication, Universidad Nacional de Rosario. Assistant Researcher, Consejo Nacional de Investigaciones Científicas y Técnicas (Argentina). Currently attending a Postdoctorate Program at Universidad Nacional de Rosario. Professor of the “Workshop: image, design and communication”, Bachelor’s Degree in Cultural Management, Universidad Nacional de Rosario. Coordinator of the Study Group on Contemporary Latin American Photography, Universidad Nacional de Rosario. Member of the Center for Studies in Postcolonial Theory, Instituto de Estudios Críticos en Humanidades and Centro de Estudios en Mediatizaciones, Universidad Nacional de Rosario. Author of the book La representación de los pueblos originarios en la fotografía latinoamericana contemporánea (2018, CDF Montevideo), selected work in the Latin American Research Book Contest, Centro de Fotografía de Montevideo (Uruguay). She has published numerous articles in academic journals on culture and art. Her research activities are articulated with her artistic production, curatorship, and cultural management. Contact email: leticia.rigat.medici@gmail.com
Mariana Patricia Busso. PhD in Social Communication, Universidad Nacional de Rosario (Argentina), degree obtained jointly with Universidad de Urbino (Italia). European Master in Latinamerican Studies, Universidad Autónoma de Madrid (España). Assistant Researcher, Consejo Nacional de Investigaciones Científicas y Técnicas (Argentina). Professor in the Bachelor of Social Communication and in the postgraduate course of the Centro de Estudios Interdisciplinarios, Universidad Nacional de Rosario. Member of the Academic Committee of the Centro de Investigaciones en Mediatizaciones and the Academic Commission of the Doctorate in Social Communication, Universidad Nacional de Rosario. Member of the Editorial Board of the academic journals La Trama de la Comunicación, Universidad Nacional de Rosario, and Cuadernos de Inter.ca.mbio sobre Centroamérica y el Caribe, Universidad de Costa Rica (Costa Rica). Participates in research projects focused on the study of contemporary mediatizations. Her research areas are mainly migrations, identity studies, media semiotics and discourse analysis. Contact email: mbusso@conicet.gov.ar
Jacob Bañuelos Capistrán. PhD in Information Sciences (Apto Cum Laude 1991- 1995), Universidad Complutense de Madrid (España). SNI-1 Researcher, National Research System (México). Research Professor of the Department of Media and Digital Culture, Tecnológico de Monterrey (México). Author of the books Fotomontaje (2008, Editorial Cátedra), Fotografía y dispositivos móviles –jointly with Francisco Mata Rosas– (2014, Editorial Tecnológico de Monterrey-Porrúa Print) and Visualidad Totalizante –jointly with Armín Gómez– (2020, Abismos Casa Editorial). In 2019 coordinated –jointly with Vicente Castellanos– the number of the DeSignis journal titled: “Photography: between the analog and the digital”. Has published articles in various academic journals. His research topics cross the emerging phenomena linked to the photographic image, memes, cinema and computer graphics within the framework of an incessant technological evolution, experienced in participatory communities of users in digital networks. Contact email: jcapis@tec.mx
DEADLINE FOR ARTICLE SUBMISSION: 10th of February, 2024
DATE FOR VOLUME PUBLICATION: 1st of July, 2024
Journal Website - registration and submission of the application through the platform:
https://revistas.ort.edu.uy/inmediaciones-de-la-comunicacion
Characteristics that the postulated articles must present:
https://revistas.ort.edu.uy/inmediaciones-de-la-comunicacion/about/submissions#authorGuidelines
Contact emails:
cossia@ort.edu.uy / inmediaciones@ort.edu.uy / lcossia@yahoo.com.ar /
Academic Committee
InMediaciones de la Comunicación
Universidad ORT Uruguay
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Bibliography
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Carlón, M. (2016). Registrar, subir, comentar, compartir: prácticas fotográficas en la era contemporánea. En Corro, P. & Robles, C. (eds.), Estética, medios y subjetividades (pp. 31-54). Santiago de Chile: Universidad Pontificia Católica de Chile.
Carlón, M. (2014). ¿Del arte contemporáneo a una era contemporánea? En Rovetto, F. & Reviglio, M. C. (eds.), Estado actual de las investigaciones sobre mediatizaciones (pp. 24-42). Rosario: UNR Editora.
Carlón, M. & Scolari, C. (2009). El fin de los medios masivos. Buenos Aires: La Crujía.
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