Open Studios – Residency Paris Cité des Arts

Posted by Leen on Wednesday March 19th 2014 at 11:30

Ellen Schroven is momenteel artist in residence in de Cité des Arts in Parijs.

Open Studiodagen: 8/9 april 2014.

Meer info over de Open Studiodagen en over de residencies voor kunstenaars:

Tools for analyzing graphic novels – by Pascal Lefèvre

Posted by Leen on Monday March 17th 2014 at 19:54

This site by former Image&Word researcher Pascal Lefèvre is meant as a quick introduction in ways analyzing the formal aspects of graphic narratives (comic strips, comic books, bande dessinée, manga, graphic novels, etc.). It’s a very useful anaytic tool, for the researchers as well as for the classroom. Every ‘chapter’ deals with an important aspect of the art of the graphic narrative and can be read separately, but the basic idea is that the interaction between these formal aspects make up a whole that is greater than the sum of the parts.

CF papers/artistic works: Visible Culture: An Electronic Journal for Visual Culture

Posted by Leen on Monday February 10th 2014 at 11:47

“Opacity” – Issue 22

For its twenty-second issue, InVisible Culture: An Electronic Journal for Visual Culture invites scholarly articles and creative works that address the multiple meanings of opacity.

In the spring of 2013, former US intelligence contractor Edward Snowden began releasing documents pertaining to the wide-ranging data collection methods of the National Security Agency. Alternately hailed as hero and traitor, Snowden’s actions have fueled intense public debate regarding issues of privacy and transparency. For Issue 22, we would like contributors to consider the tension between transparency and opacity and reflect on the cultural and political contexts that gave rise to their connotations of openness and secrecy. What does it mean to claim either as a right? The late writer, poet, and critic Édouard Glissant (1928-2011) developed a model of opacity as a means of creating ethical relationships, writing in Poetics of Relation, “Transparency no longer seems like the bottom of the mirror in which Western humanity reflected the world in its own image. There is opacity now at the bottom of the mirror, a whole alluvium deposited by populations.” How could opacity be used as a tool of resistance? What stakes are involved in the revelation or obscuring of artworks’ racial, cultural, or gendered origins? How might we imagine opacity to be useful or limiting to the work of visual culture?

We also seek to address optical properties of opacity more broadly as a conceptual tool for approaching medium specificity, innovations in color theory, and other subjects. Does our understanding of opacity shift in regard to digital technologies as it may between cultural spheres and political territories? How might visual culture be invested in the theoretical and physical properties of opacity and transparency?

We welcome papers and artworks that further the various understandings of opacity. Possible topics of exploration include, but are not limited to:

Aesthetic and political dimensions of transparency and opacity Identity politics, “the right to opacity”

Privacy and visibility, surveillance

The “transparent society” and digital panopticism Scientific and medical visualization, the body, big data Opacity of architectural traditions Liminal spaces, borders, zones of conflict Transparency and globalization, geopolitics Emerging, established, and decaying democracies Politics of clothing, fabric, screens, interstitial space and material Camera obscura/lucida, properties of darkness and light, color, pigmentation Transparency and opacity in the plastic arts (painting, film, sculpture) Penetration and resistance

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 May 1, 2014. Inquiries should be sent to the same address.


Creative/Artistic Works

In addition to written materials, InVisible Culture is accepting work in other media (video, photography, drawing, code) that reflect upon the theme as it is outlined above. For questions or more details concerning acceptable formats, go to or contact ivc[dot]rochester[at]gmail[dot]com.




InVisible Culture is also currently seeking submissions for book, exhibition, and film reviews (600-1,000 words). To submit a review proposal, go to or contact ivc[dot]rochester[at]gmail[dot]com.




The journal also invites submissions to its blog feature, which will accommodate more immediate responses to the topic of the current issue. For further details, please contact us at ivc[dot]rochester[at]gmail[dot]com with the subject heading “blog submission.”



* InVisible Culture: An Electronic Journal for Visual Culture (IVC) is a student run interdisciplinary journal published online twice a year in an open access format. Through peer reviewed articles, creative works, and reviews of books, films, and exhibitions, our issues explore changing themes in visual culture. Fostering a global and current dialog across fields, IVC investigates the power and limits of vision.



Angelo Vermeulen over kunst en wetenschap

Posted by Leen on Saturday January 18th 2014 at 19:07

Kunst in het labo

Wetenschappen en kunst hebben een historische band. De hedendaagse, hybride kunst lijkt die band te herontdekken. Op 29 januari 2014 komt bioloog-kunstenaar Angelo Vermeulen naar Diepenbeek om over zijn werk als kunstenaar en wetenschapper te vertellen. Biologie, technologie en sociale verbinding staan in zijn werken centraal.

In educatie worden de vakgebieden wetenschap en kunst ver van elkaar gehouden. Binnen community art is de drempel minder hoog. Co-creatie is de motor van Angelo’s artistiek-wetenschappelijk werk. Hij levert een basisidee en de uitwerking gebeurt door een interdisciplinaire groep vrijwilligers. Door die connectie tussen werelden (vakinhoudelijk, culturen, leeftijden) blijft het kunstwerk in beweging.

Is community art een vorm van kunsteducatie? Hoe kan je wetenschappen, techniek en kunst in een participatieve – of educatieve – setting samenbrengen? Is beweging ook het doel van kunstonderwijs? Deze en vele andere vragen kunnen na de lezing aan Angelo gesteld worden.

Angelo Vermeulen is TED Senior Fellow, werkt voor NASA en is expert voor ESA. Ook geeft hij les aan LUCA School of Arts Gent. In het volgend nummer van Eos verschijnt een interview met Angelo.


Inschrijving is noodzakelijk. De avond is gratis.

Inschrijven kan via deze link.

Praktische informatie


29 januari 2014 om 20.00 u.


Wetenschapspark 27
3590 Diepenbeek


Napraten met een drankje


Deelname aan deze activiteit is volledig gratis. Inschrijven is wel verplicht.
Meer informatie en de inschrijflink vind je op


Special Issue of LWU (Literatur in Wissenschaft und Unterricht): “Serial Narratives”

Posted by Leen on Thursday January 16th 2014 at 10:43

Since the nineteenth century, serial narration has been a preferred mode of popular storytelling. From serialized novels to comic strips and film serials, from radio plays and television series to video games, and digital forms of storytelling—serial narratives have proven to be an effective means of attracting and engaging mass audiences, especially when new technologies (like color printing in newspapers) and new media (like film, radio, television, and the Internet) emerge. Producers rely on recurrent characters, ongoing storylines, and delayed narrative closure in order to generate audience desire for future installments. In that regard, serial narratives essentially promote themselves and the medium in which they appear, as consumers must continue to read, watch, or listen over extended periods of time if they want to gain access to the full story. Serial narratives make perfect economic sense from the producers’ point of view, then, but they also provide various pleasures for their audiences. The particular appeal of a television series, to name just one example, may lie in ritualized viewing practices, in a long-term emotional engagement with fictional characters and their experiences, or in creative responses like fan fiction.Existing studies of nineteenth-century serialized novels, early comic strips, and contemporary television shows seldom look at serialization as a dynamic practice that crosses media boundaries and constantly adapts to the ever-changing media landscape and its latest technological innovations. This special issue of LWU seeks to explore narrative, cultural, and historical dimensions of serial narratives in an effort to come to terms with their changing forms and functions within the field of popular culture. We are interested in questions relating to the production and reception of serial narratives in the past and present. How can the evolution of serial forms be understood within particular theoretical frameworks? How does the sprawl of serial narratives across different media challenge established notions of authorship, narrative closure, and cultural legitimacy? How does it work to increase audience loyalty and engagement? How do authors and producers respond to new modes of consumption that differ from the ritualized experience of daily, weekly or monthly installments? Do DVD sets, VOD services, and streaming, for example, demand new narrative strategies and storytelling techniques to satisfy the binge or repeat viewer of television series? What effect has the “second screen” on viewing experiences and (the semblance of) audience participation?We invite theoretical reflections as well as analyses of individual serial narratives.

Please send an abstract of 250-300 words and a short CV to

The deadline for abstracts is April 1, 2014. All accepted essays have to be submitted by November 1, 2014.

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