GKA ARTS 2021 |  SEPTEMBER 16-17, 2021

3rd International Conference on Arts and Cultures in collaboration with IUT Dijon, the Université de Bourgogne, and research group CECILLE

Highlighted Theme
Scientific Coordination
Program
Key Dates
Proposal submission
Registration
Virtual Platform

Highlighted Theme

Cultural Recycling from the Arts: Hybridizations and Transculturality

Recycling is the process by which elements or parts of a certain product or work are used and that, although they fulfilled a certain purpose, continue to be used for later purposes. In culture, we also see this “art of recycling” when verbal, mental and visual images that exist in expressions, receptions and interpretations of the plastic arts and other manifestations associated with emerging technologies in the digital age facilitate the creation of a new work, resulting in that, on many occasions, the intentionality of the original director is translated in favor of what the “new performer” wants to tell or relate.

In this way, with the main theme Cultural Recycling from the Arts: Hybridizations and Transculturality, the III International Conference of Arts and Cultures seeks academic exchange between specialized university research centers interested in the study of cultural recycling, with special interest in hybridizations and transculturality. National borders and disciplinary dialogues have become more permeable, due to phenomena such as the increase in migratory movements, the movement of more people throughout the world and, in the last three decades, the development of new communication technologies, such as the Internet and virtual social networks. For this reason, the Conference is a forum to study the adaptation and rearrangements of the cultural products of the various cultural identities of the globalized world to these transformations.

Topics of this edition

  • inter and transdisciplinary dialogues between the different manifestations of the arts, to generate hybridized productions.
  • the nation in transnational visual discourse.
  • the relationship between image and power from a transnational perspective.
  • the appearance of new community discourses and hybridizations.
  • visual representation through migratory and tourist experiences.
  • the circulation of the arts through new emerging technologies.
  • the construction of transnational imaginaries.
  • the effects of the internet, the digital and the post-digital in cinema, current photography, and other audiovisual productions.
  • migratory shocks, violence, marginalization, and adaptation to new habitats.

Other conference topics

  • Development of universal art: contexts, historical framework and symbolic-expressive productions.
  • Influences of cultural forms in artistic practice: meanings and associations in the history of art. Philosophical and religious aspects. The creative act and spiritual power.
  • Aesthetic manifestations of cultures in their historical and territorial context: styles, function and circulation. Interdisciplinary interpretation systems.
  • Stylistic and iconographic aspects linked to sociocultural processes. Representation systems
  • Ruptures and continuities: apogee and dissolution of VanguardsPost-war art and conformation of contemporary art. Artistic movements.
  • Performance or artistic action.
  • Urban art. Environmental sciences and contemporary art. Pop Art, Land art and Earth art.
  • New forms in art: technology and science. Bioart, Strandbeest, the Aerocene project. Cyborg arts. Networks, digital media and interactive forms.
  • The human body as a support and an object of art. Gender and sexuality Expressive materials
  • Democratisation of art and technology. Video installations. Electronic Arts. Creative industries. Statements in urban spaces.
  • Design and creativity. Design thinking
  • Plastic and visual languages. Architecture. Sculpture. Painting. Engraved. Drawing.
  • Creative writing applied to the artistic field: literature, narratives, playwriting and fiction. The relationship between art and literature.
  • Musical arts: techniques, resources and musical production. Genres and composition. Theory, functions and stylistic elements. Interpretation and diversity. Electro-acoustic media.
  • Dance: techniques, choreographic expressions and popular music.
  • Theater arts: set design, lighting and stage direction. Performance: vocal, body and rhythmic dimensions. Acting training and methods. The expressive technical work.
  • History and theory of cinema. Aesthetics and audiovisual language. Documentary cinema.
  • Contemporary cinema and emerging cinematography.
  • Illustration and animation.
  • Artistic photography, image and new audiovisual aesthetics.
  • Decorative and industrial arts.
  • Policies and legislation on culture and the arts. Culture management.
  • Museums. Galleries. Collections. Fairs and Antique shops. Leading cities and international antiquities. Management problems and typologies.
  • Biennales in the context of globalisation. The role of museums and art collections in the 21st century: the new management narratives.
  • Artistic circuits. Institutions and agents.
  • Marketing, art and culture. Sponsorship and patronage. Segmentation and positioning.
  • Strategic approaches. Formulation and evaluation of artistic projects.
  • Cultural and arts policies: the role of the State, economy and financing.
  • Public and private management models. Comparative studies.
  • Intellectual Property and Copyright in the Global Society: The Work of Art as an Object of Intellectual Protection.
  • The problem of dominion over the work of art.
  • Cultural industries. Crowdfunding, micro-patronage or collective financing.
  • Management of Cultural Policies and Institutions.
  • Documentation, Registration and Archive.
  • Management and Organisation of Events.
  • Finances applied to Art and Culture.
  • Management of Organisations in the fields of Culture and the Arts.
  • Legislation for Artistic Management.
  • Management of International Organisms.
  • Artistic-Cultural cooperation and self-management projects.
  • Educational Management in Artistic Institutions.
  • Management and Communication in the Contemporary World. Creativity, Art and Innovation: Advertising, Cinema, Journalism, Digital Communication, Video Games, Cultural Management, Applied Arts, New Technologies.
  • Administration of Human Resources and Psychosociology of Organisations.
  • Cultural Policies. Communication and Institutional Image.
  • Management of artistic languages: Manual Visual Arts, Literary Genres, Theatre and Dance, Crafts and Folklore, Musical Languages, Visual Arts, Multimedia Arts and Digital Arts.
  • Artistic Heritage Curatorship and Editorial Curatorship.
  • Museums and Historical-Artistic Heritage: History of Collecting. Collections Management.
  • Management and artistic production. Emerging artists: Relations with the media and the public. Legitimation and circuits.
  • Expertise and conservation of cultural and artistic heritage. History of conservation and restoration.
  • Historicity of the restoration activity: criteria and theoretical principles.
  • Restoration of cultural goods: artistic techniques. Historicity and theoretical principles.
  • Valuation, intervention-restoration of cultural goods. Preventive conservation.
  • World Heritage: protection actions and contributions to sustainable development.
  • The destruction of heritage in countries in conflict: historical resolutions and conventions. International legal framework. The World Heritage Convention.
  • Management of Heritage Assets. Plundering and illegal trafficking of works of art.
  • Heritage and sustainable tourism. Heritage and Development.
  • Cultural heritage and artistic practice as a factor of identity and community cohesion.
  • Museology and museography: research, documentation and conservation.
  • Administrative typologies and types of museums. Comparative studies.
  • Art history: multidisciplinary, interdisciplinary and transversal studies.
  • History of art. Exhibition spaces, institutions and agents of the art circuit. Museums, art galleries and unconventional spaces. International art exhibitions.
  • Curatorship. Curatorial stories. Management, planning and setting up exhibitions.
  • Role of the curator: curatorial and exhibition speeches. Construction of scripts, formation of concepts and associative keys.
  • Supports, registration and exhibition.
  • Artistic heritage: historical memory and identity.
  • Art and interculturality: influences and innovation. Social and cultural relevance of artistic heritage.
  • Circulation of works, public and artistic market.
  • Emerging and established artists. Biographical and documentary studies.
  • Creation groups (or collective of artists). Artistic production residencies: collaboration, research and action. Cultural factories. Problems, challenges and opportunities.
  • Competitions, workshops and shows.
  • Art and Education. Artistic training. Universities and study centres: academic plans, programmes and offers.
  • Contemporary art, aesthetics and languages combined.
  • Historiography and art theory. Comparative Theory of the Arts. Theoretical approaches in relation to art and cultural diversity.
  • Contemporary theories of art and culture. The history of art as a great narrative. Aesthetic currents.
  • The problems of Aesthetics and the critical vision of postmodernity.
  • Iconological and iconographic studies of the work of art. Methodologies of artistic research. Problems of contemporary art.
  • Art and technique. Aesthetics and philosophy of art. Art and creativity.
  • Thought, aesthetics and artistic practices.
  • Forms, functions and meanings of art.
  • Sociology of art.
  • The work of art: aesthetic and morphological criteria.
  • Auratic and post-auratic art.
  • Art after the “end of art”. The new spectator.
  • Art criticism: methods and rhetoric of the image.
  • Critical reception of contemporary art.
  • Problems of modern and contemporary art. Art and Globalisation.
  • Languages and Genres of Art.
  • Art in the Age of Post-Truth.
  • Electronic arts. Digital design. Interactive art.
  • Television aesthetics. Artistic promotion and diffusion: specialised press and audiovisual media.
  • Objects, installations, photography and video.
  • Multimedia and digital arts.
  • Images in the global order: asymmetries and access. Differential factors: centre-periphery.
  • Digitalisation of images. Printed art.
  • Virtual museums. The new languages applied to the promotion of the arts: virtualisation of artistic heritage. The role of the public: aesthetic experience and participation.
  • Educational exhibitions: actions, functions and services.
  • Graphic, television and audiovisual press.
  • Social networks as a means of diffusion-promotion of art.
  • Networks, digital media and interactive forms in art.
  • New transmedia narratives: storytelling.
  • Participatory culture online. Associated information technologies. Crowdsourcing. Applications in the cultural field: art, museums and libraries.
  • Popular cultures and media.

Scientific Coordination

The Dijon-Auxerre University Institute of Technology (IUT), a center attached to the University of Burgundy, was founded in 1968. It currently has more than 40 professional training courses spread over 10 study departments. In total, 2,500 students are currently taking their training at the IUT in Dijon-Auxerre, of which 550 are on work-study (dual training). The training is delivered on 6 campuses: Dijon, Auxerre, Mâcon, Tournus, Sens and Nevers. Scientific research is also a fundamental part of the activity of the institution, in fact, at the IUT there are 70 professor-researchers assigned to some fifteen laboratories. Every year, around 100 students complete an internship or semester abroad at one of the 80 partner universities.

The University of Burgundy (uB) is a French university located in Dijon (Burgundy) and founded in 1722. The university offers a wide range of training in all disciplines: law, economics, management, literature, languages, medicine, pharmacy, science human, exact and experimental sciences and at all levels (Degree, Master, Doctorate). Scientific research is the DNA of the University of Burgundy: it houses more than 1,500 professor-researchers distributed in 30 research units. The University of Burgundy also dedicates almost a third of its budget to research. The uB welcomes some 30,000 students every year as well as 2,000 employees or job seekers in the framework of continuous training. Owner of a vineyard and an experimentation center, she offers complete courses in Vine Sciences and Enology, taught at the Jules-Guyot Institute. Since June 2019, the establishment, together with 6 other universities, has been a member of the FORTHEM European alliance.

Research Group CECILLE

CECILLE is a research group (Center d’Études en Civilizations Langues et Lettres Étrangères) belonging to the University of Lille in France. One of the foundations of the CECILLE research group lies in its transdisciplinarity. A good example of this is its cross-cutting axes characterized by specific methodologies: literature, civilization, history of ideas, genre(s), and translation/translation studies; and its five geographical areas, which complement and enrich each other thanks to the flexibility of its collaborators (punctual and frequent), whether these are local (in relation to other research groups); national (since many of the axes are related with Groups of Scientific Interest such as the Institute of the Americas, the Gender Institute and the Institute “Religions – Practices, texts, powers”, or international, in which case cooperation and contact networks are favored by the domain of multiple foreign languages, another of the features that federate and energize the research group.

Scientific Directors

Rafael Cabrera

Rafael Cabrera Collazo, Ph.D. – Universidad Interamericana de Puerto Rico (Puerto Rico)

Rafael L. Cabrera Collazo has a PhD in History from the University of Puerto Rico. He serves as Associate Vice-Rector for Academic Affairs at the Inter-American University of Puerto Rico and holds the rank of Professor of History in this same institution. He has been a visiting professor at universities in Cuba, Mexico, Italy, Portugal, Spain and Colombia, where he has given seminars on semiotics and visual culture – these being his areas of expertise and research. He currently participates in several academic research networks related to studies into representations of mass media. He is a member of scientific editorial committees at universities in Spain, Colombia, Argentina a­­nd the Dominican Republic. These integrate national and international professional associations of historians and scholars of social sciences and visual culture – one being the Puerto Rican Association of Historians (of which he was a founding partner and President between 2001 and 2004) and the other, the International Society of Visual Culture, based in Madrid (where he is currently the Scientific Director on its executive committee). He has written one book himself, entitled The drawings of progress: the caricature of Filardi and the criticism of Munocist developmentalism, 1950-1960,  and has co-authored three others. He has collaborated with others published in specialised journals and articles in arbitrated books in Mexico and Spain concerning the cultural history of cinema, and the sociability and manipulation of mass media.

Rafael Cabrera

Jordi Macarro Fernández, Ph.D. – CECILLE research group of the University of Lille (France)

Jordi Macarro Fernández is a Doctor in History and Cinema (Cum Laude international mention) from the University of Granada. His teaching and research career was recognized with the Extraordinary Doctorate Award in the Arts and Humanities Area, awarded in 2016. He is associated with several international research groups, such as the Center d’Études en Civilizations, Langues et Lettres Étrangères (University of Lille, France), the Interuniversity Center for Hispanic Cultural Studies (Universities of Düsseldorf and Wuppertal, Germany), the Center InterLangues – TIL: Texte, Image, Langue (University of Burgundy-Franche-County) and is a collaborator of the groups ArtKiné (University of Buenos Aires, Argentina) and HUM1026 Image and Memory (University of Cádiz). The federative axis of his research is the recovery of historical memory through the audiovisual image, concretized through three sub-axes: geopolitics, the city and the representation of urban space; audiovisual translation: sociolinguistic conflicts and infidelities; cultural industries in India and Latin America.

He is currently developing his post-doctoral research project on trans-Pacific exchanges and cultural influences between the Indian and Latin American film industries in collaboration with the Wuppertal and Inter-American Universities of Puerto Rico. With the latter, he co-directs the project Cultural recycling: hybridizations, transculturalities and glocalization, in which this Arts and Cultures congress is registered. Since 2012 he has been the director of the International Film Conference, a biannual event held at different French universities, and since 2018 he is responsible for the Université Populaire section of the Ojoloco Festival of Iberian and Ibero-American cinema of Grenoble. His teaching work in cinema, history, art, language and culture has been carried out in different French universities: Lille, Paris-Sud, Burgundy, Montpellier 3, Paris-Est-Créteil, Évry-Val-d’Éssonne. He has also been visiting professor at the universities of Cádiz and Córdoba (Spain), at the School of Art, Design and Communication of ESPOL (Ecuador), and the Film School of the University of the Arts in Guayaquil (Ecuador).

Scientific Committee

Michelle Guillemont-Estela, Université de Lille (France)

Véronique Hébrard-Santi, Université de Lille (France)

Nataly Botero, IUT of Dijon (France)

Matei Chihaia, University of Wuppertal (Germany)

Javier Ares Yebra, Universidad de Granada (Spain)

Program

The program is provisional and will be updated shortly.

You can consult the program of the previous edition at the following link.

Thursday, September 16
Conference Opening
Keynote sessions
Thematic Panels (webinars)
Friday, September 17
Conference Opening
Keynote sessions
Thematic Panels (webinars)

Key Dates

  • 1st Call for papers: until July 2, 2021

  • Early Registration: until July 9, 2021

  • FINAL Call for papers: until September 2, 2021

  • Final Registration: until September 9, 2021

  • Submission of articles for publication: until October 17, 2021

Follow these steps

Choose between Webinar (Live Presentation) and Video (Prerecorded Presentation). You can check the characteristics of each one in the next section.

Title of the presentation, short abstract (max. 300 words), long abstract (for the Book of Proceedings), keywords, the language of the presentation, data of the main author, and data of the co-authors. The scientific committee will review your proposal within 2-3 weeks and notify you by email (please check your SPAM folder).

Once your proposal has been accepted, you must pay for your registration at the conference according to the type of presentation chosen.

Consult the conference program to check the day, time, and virtual room where your presentation has been scheduled. If you are presenting a webinar, check out our quick guide to learn about the controls of the ZOOM platform and the technical requirements that your computer and internet connection must meet. You can also participate in a test session a few days before the conference, to test your audio, video, and slide presentations.

  1. Log in with your username and password on the GKA virtual congress platform: https://virtual.gkacademics.com/
  2. Go to the conference main page and click on the green button “Start Conference”.
  3. In the list of panels on the left side, find the virtual room you wish to access and click on it.
  4. Click on the “Join via Web Client” button to access directly from your browser.

Speakers may submit an article for publication (at a discount) in a GKA indexed book or journal, as assessed by the scientific committee. Download the template and see the guidelines at this link.

Proposal submission

WEBINAR

(Live Presentation)

How does it work?

The speaker will enter live in a virtual room of ZOOM platform – along with other speakers on the same topic – and present his or her paper for a maximum of 15 minutes, supported with slides (e.g., PowerPoint)or speaking directly to the camera on their device. Each room will have a moderator who will introduce the speakers, keep time, and moderate questions from attendees for 20 minutes at the end of the session.

Next deadline:
July 2, 2021.

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SUBMIT PROPOSAL

Before submitting your proposal, read our Quick Guide and check our Frequently Asked Questions.

VIDEO

(Prerecorded Presentation)

How does it work?

This option is ideal for those who cannot participate in the live conference. This option allows the author to record their presentation in the format of a 5-minute video and send the link (Youtube or Vimeo) through the proposal submission platform. The video will be published in a virtual conference room related to its theme and will be available to all attendees of the event. Important: the video must contain an oral presentation.

Registration

Before registering, check the frequently asked questions and our cancellation policy.