Asun LópezVarela, Universidad Complutense de Madrid, Spain
David Marshall, Head, School of Communication and Creative Arts, Deakin University, Australia
This special issue The semiosis of Transmedia seeks paper proposals on the various artistic uses and effects of transmediality -narrative interconnectedness among media- and the conversion from analogue to digital arts. Full papers are invited on the following areas and topics:
– art history and the impact of technology;
– theory on inter-relations within and between arts and media;
– translation, adaptation, and remediation across the arts; analogue and digital archiving;
– versions and interpretations of the concept of intermediality and transmediality;
Media identities and cultural aspects
– semiosis and mobilization of perception across the arts from analogue to digital formats; cultural functions of intermedial and transmedial conversions;
– cyberfeminism and domestication of technologies
Media convergence and social functions
– changing patterns in media production, distribution, reception and performance;
– the convergence of artistic strategies and their functional impact on advertising and marketing; the impact of graphic and 3D design upon industry and services;
– the use of digital gaming in educational environments and their socio-semiotic implications.
This call for papers will also seek semiotically informed or influenced theory about video phenomenon, as well as visual enriched texts and pictures of digital and photographic media. We will putatively brand the subject of inquiry by the professionally used term videography – thus crediting the field with a potential conceptual complexity while also gesturing, through the graphic suffix of the term, to an emergent multimedia dynamic that helps further erase simplified oppositions between visual, oral and written expression. The inquiry seeks perspectives on the phenomenological and perceptual nature of video as a field of expression and experience: the delineation of cinematographic and videographic expression; televisual configuration and social contexts, including studio and interpersonal practices; the history of video medium; clarification of multimedia expression, including the emergent relationship of still, moving, audio, visual, pictorial and video modalities; and, finally, at least in terms of this list of suggestions, the representation, transcription and praxis of communication and conversational events.
Contact: Asun LópezVarela (firstname.lastname@example.org) and the journal.