*CFP* "THE AESTHETICS OF TRAVEL", VOLUME 65 (02/2022), THE POLISH JOURNAL OF AESTHETICS

This upcoming issue of The Polish Journal of Aesthetics calls for submissions focused on the associations between traveling and aesthetics, both understood broadly. There is a necessity for interdisciplinary dialogue between Aesthetics and different fields of research related to traveling. Aesthetics is the study of perceptions, experiences, and speculative developments. The practice of traveling reaches from the importance of nomadism for forming human culture up to the idea of Bildung (moral, intellectual, cultural, and artistic formation). Narratives about travel may come from Western written and oral tradition, such as Homer’s Odyssey, and film genres such as Westerns, Sci-fi, or Road trip cinema. Various types of travel literature could include logbooks and texts that support learning about living in a way that necessarily encompasses alterity. 

Traveling invokes a type of self-knowledge that is dislodged from a homeland and is connected to ritualistic reunions sustained through an oral tradition, the extraordinary adventures of a people. Travel transmits knowledge about the world for future generations. Through the experience of distance and strangeness, traveling creates an authentic space for cosmological and philosophical investigations, exploration, nostalgia, and personal, collective, scientific, or territorial discoveries, above all. In the category of space, fictional and narrative aspects find imaginary projections and territorial explorations from which knowledge emerges, individuating itself by an investigative perspective and observation. A new personality—a new Self and new Selves—appears from unknown space and time. The essential and precise subject matter for this issue is to deal with the representation of traveling and the imaginary, even if trips are objective and documented. Papers should include studies about the bond between the objective and the subjective, the individual and the collective, united with memory, time, and space.

*CFP* "MEDIA-ENTERPRISE. DISCOURSES AND PRACTICES OF CINEMA AND THE MEDIA IN CORPORATE CULTURE", ISSUE 1, THE CINEMA E STORIA JOURNAL

The reconstruction of the Italian social fabric in the aftermath of WWII did not involve only the re-establishment of a democratic political framework after a twenty year-long Fascist dictatorship; it also implied a painstaking restoration of national industry, which had been seriously affected by the global conflict. As part of this process, increasingly wide portions of Italian territory were converted from agricultural to industrial use, new ways to improve the efficiency of mass production were introduced, and the ‘Marshall Plan’ helped with its substantial funding programme. The latter also updated generally the modes of communication at work within public companies and private enterprises, renewing the ways that both workers and consumers were informed, persuaded, and recruited.

This special issue, Media-Enterprise Discourses and Practices of Cinema and the Media in Corporate Culture, will focus on the complex set of relations between corporate culture and media discourses and practices. In taking the well-acknowledged governmental instrumentalisation of the medium of film and the increasing attention devoted to “sponsored” and “industrial” cinema as points of departure, we aim to expand these reflections to different media domains. As well as assessing industrial enterprises and corporations as subjects or commissioners of audiovisual representations, we intend to account for the role played by media-technologies within business, from the end of WWII to the present day.

*CFP* "THE ZOOM FUNCTION", SPECIAL ISSUE, THE INTERNATIONAL JOURNAL, PERFORMANCE ARTS AND DIGITAL MEDIA

Technology zooms. This brief phrase points to its kinetic dimensions (automobiles zoom across our landscape), its temporality (microchips advance and processing power proliferates exponentially), and the ways it modulates space and scale (zooming in, a molecule becomes a mountain; zooming out, a planet becomes a pea). Zooming links senses of sight (magnification), sound (onomatopoeia), and touch (movement), key dimensions in which performance proceeds and through which art--especially technologically mediated art--addresses its audiences.

Zooming draws together fields as varied as aeronautics, optics, and economics, and it calls to mind unique bodily effects, including frenetic gestures, droning sounds, and the energies that indicate vivaciousness itself. And zooming reverberates politically: it names the speed of progress and progressive desires; it undergirds the logic of anarchist, Marxist, or post-humanist accelerationism; it prompts the protests of those who call for slow food, slow medicine, slow travel, and so (slow) on. The zoom function can be found at work at diverse interfaces between science, art and architecture, and philosophy; it appears implicitly or explicitly in the writings of scholars as varied as Richard Feynman, Donna Haraway, and Paul Virilio to name a small sample. The zoom function provides a framework to understand our relationship to technology in the 21st century.

*CFP* CALL FOR PAPERS POR THE SHORT FILM STUDIES, VOL 11, NUMER 1

Aims and Scope 

Short Film Studies is a peer-reviewed journal designed to stimulate ongoing research on individual short films as a basis for a better understanding of the art form as a whole. In each issue, two or three short films will be selected for comprehensive study, with articles illuminating each film from a variety of perspectives. 

These are the works that will be singled out for close study in Short Film Studies Vol. 11, Number 1:

La Vis 

Didier Flamand 

France, 1993, 19 min

Password: XLvimLaVis7K7