Archive for February 2013

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[ecrea] Issue 20: "Ecologies"

Mon Feb 18 11:51:44 GMT 2013

Issue 20: "Ecologies"

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

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

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

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.Creative/Artistic Works
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:

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

IVC seeks writers for 1000-1500 word book reviews. For books of
interest, consult our list of reviewable books at:

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, please see our call
for submissions here, or contact our reviews editors by visiting

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