IMAGES, CINEMA, THEATRE, MEDIA
Vol. 12, Issue 2/2014
will be a special one, dedicated to the selected papers presented in the international conference
Bodies in Between. Corporeality and Visuality from Historical Avantgarde to Social Media
(Cluj-Napoca, May 29-31).
Vol. 13, Issue 1/2015
Creative Boycott: Transgression, Counterfeit and Aesthetic Imaginary
Is creativity an innate trait or a cultural development; a tool or a skill? Is it decreasing with age? Can it be taught? Is education an obstacle for expanding our creativity? From creative intelligence and motivation to psychometric approaches and creative digital manipulations, the realm of creativity surpasses structuralist and pragmatic theories.
Could word or image be the vehicle of these new significances and win the historical dispute? Or should we look for a counterfeit extension of our perceptiveness?
The new developments of art as a transgression experience, an everyday event, consider that ”everything is design”; in McLuhan terms, design becomes the medium itself. With the ”creative turn” (Anne Harris, 2014, The Creative Turn. Towards a New Aesthetic Imaginary, Rotterdam-Boston-Taipei: Sense Publishers, p. 4) economics, ethics, education, technology and design interweave into an aesthetic imaginary.
Individuals have different reactions when they are under social or cultural pressures: conformity, innovation, ritualism, isolation or revolt. Innovation could be the mark of those who accepted the dominant culture purpose of success, but who are choosing illegitimate ways to reach success, going against the social organization, against different institutions, against political doctrines. Beyond breaking the rules, contemporary art has the same manifest message as a reaction to conventions, a raise against the status quo of society. We are now talking not only about the transgression of aesthetic norms, but also of social ones. Art is essentially a protester endeavor by its very nature. As we recall the key moments in the modern art history, from the flux art to the minimalist art (Duchamp), the anarchitecture (the riot of lui Gordon-Matta Clark in 1976 against the urban order) or the deconstructivism etc. we can notice the process in which art is assuming the functions of philosophy and religion. Art denies the concept of beauty and becomes art against art.
With a dynamic approach of culture, Appadurai (A. Appadurai, The capacity to aspire: Culture and the terms of recognition, in R. Vijayendra & M. Walton (Eds.), 2004, Culture and public action, Stanford: Stanford University Press, pp. 59-84) proposes five ”-scapes” that encompass multiple realities in our global world as they are experienced by individuals. Ethnoscape, technoscape and finanscape refer to new types of cultural interaction and exchanges due to technical developments, migration and economical ties. Mediascapes and ideoscapes refer to media products and ideologies that shape our ”imagined world”. At the intersection of business, industry and innovation, the creative turn is ”urging us toward a merging of embodied (performed) with disembodied (digital) spaces, ritual acts and identities”, viewing Appadurai ”notion of the imaginary as a social field” (Anne Harris, 2014, pp. 4-5.).
Ekphrasis welcomes papers which address the interdisciplinary and cross-cultural approaches, tackling on the different myriads of creativity and its paradoxical combinations and conflicts. The reverberation of the old dispute eye versus ear, word versus image finds a prolific soil with the new developments and challenges of video art and games, with the intakes of globalization and the permeation of the digital realm. From methods in education to commerce and cuisine, creativity is the most valuable asset of our age.
Topics may include, but are not restricted to:
Creativity: Limits and Off Limits
Cognition and Creativity
Creativity, Innovation and Aesthetics
Economic and sociological models of creativity
Creative Writing: Methods, Techniques, Experiments
Conceptual Blending and Paradoxical Combinations
Creative Thinking as Mind Mapping – Nonlinear Processes of Thinking and Visualizing
Creative Humor, Creative Irony – Correlative Thinking
Creative Reading and the New Rhymes of Interdisciplinary
Creative Manipulations as Digital Boycott
Creative Eye, Creative Visualization
Global Creativity – Ideas Spreading Worldwide: Benefits and Downsides
Creative Destruction (Joseph Alois Schumpeter, 1950, Capitalism, Socialism and Democracy, New York: Harper and Brothers, p. 83) – the Cost of Cross-Cultural Exchange
Embodied (Performed) and Disembodied (Digital) Identities of Creativity (Anne Harris, 2014, p. 4)
Embalmed Memories – Imagination Triggered Events
Copyright and Creative Stealing
Culture and Creativity – Synthetic Cultures
Creative industries – Art and Commerce; Entrepreneurship and Creativity
Guest editors: Nicoleta Sălcudean, Delia Enyedi
Deadline for abstracts of up to 300 words: 1st of March 2015.
Final submission is due on the 1st of May 2015.
The articles should be written in English or French (for English, please use the MLA citation style and documenting sources).
For the final essay, the word limit is 5,000-8,000 words of text (without references).
Please include a summary and key-words.
The articles should be original material, not published in any other media before.
Graduate students are particularly encouraged to submit papers.
Ekphrasis is a peer-reviewed academic journal, edited by the Faculty of Theatre and Television, “Babes-Bolyai” University, Cluj-Napoca, Romania.
For more information and submission guidelines, please visit: