Setting up an international congress and an international journal on art studies. speaker: João Paulo Queiroz.

Apresentação em tema: "Setting up an international congress and an international journal on art studies. speaker: João Paulo Queiroz."— Transcrição da apresentação:

1 Setting up an international congress and an international journal on art studies. speaker: João Paulo Queiroz

2 Setting up an international congress and an international journal on art studies. speaker: João Paulo Queiroz CIEBA, Centro de Iinvestigação e Estudos em Belas-Artes Faculdade Belas-Artes da Universidade de Lisboa, Portugal

3 CSO’2010 – ‘artists on other artists work’ congress, held at Faculdade de Belas-Artes, Universidade de Lisboa

4 -The idea of CSO’2010 congress

5 Approximately one year ago I begun to organize an international congress centred on the artist, CSO’2010.

6 -The idea of CSO’2010 congress Approximately one year ago I begun to organize an international congress centred on the artist, CSO’2010. I thought of a broad Call for Papers directed to artists or art related authors

7 -The idea of CSO’2010 congress Approximately one year ago I begun to organize an international congress centred on the artist, CSO’2010. I thought of a broad Call for Papers directed to artists or art related authors (not only traditional visual artists, but also theatre, dance, music, design, new media…).

8 -The idea of CSO’2010 congress Approximately one year ago I begun to organize an international congress centred on the artist, CSO’2010. I thought of a broad Call for Papers directed to artists or art related authors (not only traditional visual artists, but also theatre, dance, music, design, new media…). The call for papers was looking precisely to what are the artist’s views on the work of another fellow artist.

9 -The idea of CSO’2010 congress Approximately one year ago I begun to organize an international congress centred on the artist, CSO’2010. I thought of a broad Call for Papers directed to artists or art related authors (not only traditional visual artists, but also theatre, dance, music, design, new media…). The call for papers was looking precisely to what are the artist’s views on the work of another fellow artist. The CfP was issued to the range of Iberian speaking artists (mainly Portuguese and Spanish, but also some other Iberian languages, like gallego and catalan).

10 -The idea of CSO’2010 congress Approximately one year ago I begun to organize an international congress centred on the artist, CSO’2010. I thought of a broad Call for Papers directed to artists or art related authors (not only traditional visual artists, but also theatre, dance, music, design, new media…). The call for papers was looking precisely to what are the artist’s views on the work of another fellow artist. The CfP was issued to the range of Iberian speaking artists (mainly Portuguese and Spanish, but also some other Iberian languages, like gallego and catalan). Iberian languages have a 500 million speaker’s span, scattered in more than 31 countries, and many autonomous territories.

11 -The idea of CSO’2010 congress Approximately one year ago I begun to organize an international congress centred on the artist, CSO’2010. I thought of a broad Call for Papers directed to artists or art related authors (not only traditional visual artists, but also theatre, dance, music, design, new media…). The call for papers was looking precisely to what are the artist’s views on the work of another fellow artist. The CfP was issued to the range of Iberian speaking artists (mainly Portuguese and Spanish, but also some other Iberian languages, like gallego and catalan). Iberian languages have a 500 million speaker’s span, scattered in more than 31 countries, and many autonomous territories. One of these countries, Brazil, has on its own more than 30 Federal States, mostly a lot bigger than Portugal..

12 -Rules

13 Our call was performed requiring some strict submitting rules:

14 -Rules Our call was performed requiring some strict submitting rules: each paper should be complete and submitted in a ‘final print’ way, following an exemplary meta-paper that the artists could download and follow its self explaining rules.

15 -Rules Our call was performed requiring some strict submitting rules: each paper should be complete and submitted in a ‘final print’ way, following an exemplary meta-paper that the artists could download and follow its self explaining rules. So, CSO’2010 is a congress with an academic committee working in a double blind review process..

16 There is no limitation on content, except the need to formulate the ideas through the 9000 character body limit, within the usual structure of «abstract /keywords /introduction /body /conclusion /references»..

17 There is no limitation on content, except the need to formulate the ideas through the 9000 character body limit, within the usual structure of «abstract /keywords /introduction /body /conclusion /references». The referencing is the Harvard style guide (aka APA)..

18 -Timeline

19 In the beginning, one year ago, I found a little hard to convince my fellow colleagues, at Lisboa, that this could be a working model of an international artists’ congress.

20 -Timeline In the beginning, one year ago, I found a little hard to convince my fellow colleagues, at Lisboa, that this could be a working model of an international artists’ congress. The timeline went on its way, and by December, I had 3 CfPs already sent away by mail.

21 -Timeline In the beginning, one year ago, I found a little hard to convince my fellow colleagues, at Lisboa, that this could be a working model of an international artists’ congress. The timeline went on its way, and by December, I had 3 CfPs already sent away by mail. I should add, it was rather difficult to pass them on, as we artists have few, if any, academic web connectivity, or mailing lists, working on academic terms.

22 -Timeline In the beginning, one year ago, I found a little hard to convince my fellow colleagues, at Lisboa, that this could be a working model of an international artists’ congress. The timeline went on its way, and by December, I had 3 CfPs already sent away by mail. I should add, it was rather difficult to pass them on, as we artists have few, if any, academic web connectivity, or mailing lists, working on academic terms. By the end of December, which was the CfP deadline, the congress e-mail was packed with more than 80 submissions..

23 - affiliations

24 The congress speakers’ affiliations were as follows:.

25 28 from Brasil:

26 Centro de Artes da Universidade do Estado de Santa Catarina (CEART/UDESC), Florianópolis, Santa Catarina Federal State

27 28 from Brasil: Centro de Artes da Universidade do Estado de Santa Catarina (CEART/UDESC), Florianópolis, Santa Catarina Federal State Ulbra-Canoas/Rio Grande do Sul Federal State

28 28 from Brasil: Centro de Artes da Universidade do Estado de Santa Catarina (CEART/UDESC), Florianópolis, Santa Catarina Federal State Ulbra-Canoas/Rio Grande do Sul Federal State UNISINOS, São Leopoldo, Rio Grande do Sul Federal State

29 28 from Brasil: Centro de Artes da Universidade do Estado de Santa Catarina (CEART/UDESC), Florianópolis, Santa Catarina Federal State Ulbra-Canoas/Rio Grande do Sul Federal State UNISINOS, São Leopoldo, Rio Grande do Sul Federal State Instituto de Artes, da Universidade Federal do Rio Grande do Sul, Porto Alegre, Rio Grande do Sul Federal State

30 28 from Brasil: Centro de Artes da Universidade do Estado de Santa Catarina (CEART/UDESC), Florianópolis, Santa Catarina Federal State Ulbra-Canoas/Rio Grande do Sul Federal State UNISINOS, São Leopoldo, Rio Grande do Sul Federal State Instituto de Artes, da Universidade Federal do Rio Grande do Sul, Porto Alegre, Rio Grande do Sul Federal State Escola Feevale, Novo Hamburgo, Rio Grande Sul Federal State

31 28 from Brasil: Centro de Artes da Universidade do Estado de Santa Catarina (CEART/UDESC), Florianópolis, Santa Catarina Federal State Ulbra-Canoas/Rio Grande do Sul Federal State UNISINOS, São Leopoldo, Rio Grande do Sul Federal State Instituto de Artes, da Universidade Federal do Rio Grande do Sul, Porto Alegre, Rio Grande do Sul Federal State Escola Feevale, Novo Hamburgo, Rio Grande Sul Federal State Rede Metodista – IPA, Porto Alegre Federal State

32 28 from Brasil: Centro de Artes da Universidade do Estado de Santa Catarina (CEART/UDESC), Florianópolis, Santa Catarina Federal State Ulbra-Canoas/Rio Grande do Sul Federal State UNISINOS, São Leopoldo, Rio Grande do Sul Federal State Instituto de Artes, da Universidade Federal do Rio Grande do Sul, Porto Alegre, Rio Grande do Sul Federal State Escola Feevale, Novo Hamburgo, Rio Grande Sul Federal State Rede Metodista – IPA, Porto Alegre Federal State Departamento de Artes da Universidade Federal Fluminense (UFF), Campinas Federal State

33 28 from Brasil: Centro de Artes da Universidade do Estado de Santa Catarina (CEART/UDESC), Florianópolis, Santa Catarina Federal State Ulbra-Canoas/Rio Grande do Sul Federal State UNISINOS, São Leopoldo, Rio Grande do Sul Federal State Instituto de Artes, da Universidade Federal do Rio Grande do Sul, Porto Alegre, Rio Grande do Sul Federal State Escola Feevale, Novo Hamburgo, Rio Grande Sul Federal State Rede Metodista – IPA, Porto Alegre Federal State Departamento de Artes da Universidade Federal Fluminense (UFF), Campinas Federal State Instituto de Artes e Comunicação Social (IACS), Campinas Federal State

34 28 from Brasil: Centro de Artes da Universidade do Estado de Santa Catarina (CEART/UDESC), Florianópolis, Santa Catarina Federal State Ulbra-Canoas/Rio Grande do Sul Federal State UNISINOS, São Leopoldo, Rio Grande do Sul Federal State Instituto de Artes, da Universidade Federal do Rio Grande do Sul, Porto Alegre, Rio Grande do Sul Federal State Escola Feevale, Novo Hamburgo, Rio Grande Sul Federal State Rede Metodista – IPA, Porto Alegre Federal State Departamento de Artes da Universidade Federal Fluminense (UFF), Campinas Federal State Instituto de Artes e Comunicação Social (IACS), Campinas Federal State Universidade Estadual de Campinas (UNICAMP), Campinas Federal State Instituto de Artes (IAR), Campinas Federal State ….

35 Centro Universitário Belas Artes de São Paulo, Faculdade Paulista de Artes, São Paulo Federal State

36 … Centro Universitário Belas Artes de São Paulo, Faculdade Paulista de Artes, São Paulo Federal State Escola de Comunicações e Artes, Universidade de São Paulo, São Paulo Federal State

37 … Centro Universitário Belas Artes de São Paulo, Faculdade Paulista de Artes, São Paulo Federal State Escola de Comunicações e Artes, Universidade de São Paulo, São Paulo Federal State Universidade Estadual Paulista-UNESP, São Paulo Federal State

38 … Centro Universitário Belas Artes de São Paulo, Faculdade Paulista de Artes, São Paulo Federal State Escola de Comunicações e Artes, Universidade de São Paulo, São Paulo Federal State Universidade Estadual Paulista-UNESP, São Paulo Federal State Universidade Federal da Bahia – UFBA, Bahia Federal State

39 … Centro Universitário Belas Artes de São Paulo, Faculdade Paulista de Artes, São Paulo Federal State Escola de Comunicações e Artes, Universidade de São Paulo, São Paulo Federal State Universidade Estadual Paulista-UNESP, São Paulo Federal State Universidade Federal da Bahia – UFBA, Bahia Federal State Universidade Federal de Mato Grosso, Mato Grosso Federal State

40 … Centro Universitário Belas Artes de São Paulo, Faculdade Paulista de Artes, São Paulo Federal State Escola de Comunicações e Artes, Universidade de São Paulo, São Paulo Federal State Universidade Estadual Paulista-UNESP, São Paulo Federal State Universidade Federal da Bahia – UFBA, Bahia Federal State Universidade Federal de Mato Grosso, Mato Grosso Federal State Universidade Federal do Estado do Rio de Janeiro (UNI-RIO), Rio de Janeiro Federal State

41 … Centro Universitário Belas Artes de São Paulo, Faculdade Paulista de Artes, São Paulo Federal State Escola de Comunicações e Artes, Universidade de São Paulo, São Paulo Federal State Universidade Estadual Paulista-UNESP, São Paulo Federal State Universidade Federal da Bahia – UFBA, Bahia Federal State Universidade Federal de Mato Grosso, Mato Grosso Federal State Universidade Federal do Estado do Rio de Janeiro (UNI-RIO), Rio de Janeiro Federal State Universidade Tecnológica Federal do Paraná (UTFPR, Brasil), Paraná Federal State

42 … Centro Universitário Belas Artes de São Paulo, Faculdade Paulista de Artes, São Paulo Federal State Escola de Comunicações e Artes, Universidade de São Paulo, São Paulo Federal State Universidade Estadual Paulista-UNESP, São Paulo Federal State Universidade Federal da Bahia – UFBA, Bahia Federal State Universidade Federal de Mato Grosso, Mato Grosso Federal State Universidade Federal do Estado do Rio de Janeiro (UNI-RIO), Rio de Janeiro Federal State Universidade Tecnológica Federal do Paraná (UTFPR, Brasil), Paraná Federal State Faculdade de Artes do Paraná, Paraná Federal State.

43 37 speakers from España:

44 Facultad de Bellas Artes de Valencia

45 37 speakers from España: Facultad de Bellas Artes de Valencia Universidad de Granada

46 37 speakers from España: Facultad de Bellas Artes de Valencia Universidad de Granada Facultad de Bellas Artes de Pontevedra, Universidad de Vigo

47 37 speakers from España: Facultad de Bellas Artes de Valencia Universidad de Granada Facultad de Bellas Artes de Pontevedra, Universidad de Vigo Facultad de Bellas Artes de Santa Isabel de Hungría. Universidad de Sevilla

48 37 speakers from España: Facultad de Bellas Artes de Valencia Universidad de Granada Facultad de Bellas Artes de Pontevedra, Universidad de Vigo Facultad de Bellas Artes de Santa Isabel de Hungría. Universidad de Sevilla Facultad de Bellas Artes. UPV/EHU Universidad del País Vasco/Euskal Herriko Unibertsitatea

49 37 speakers from España: Facultad de Bellas Artes de Valencia Universidad de Granada Facultad de Bellas Artes de Pontevedra, Universidad de Vigo Facultad de Bellas Artes de Santa Isabel de Hungría. Universidad de Sevilla Facultad de Bellas Artes. UPV/EHU Universidad del País Vasco/Euskal Herriko Unibertsitatea Universidad Miguel Hernández de Elche

50 37 speakers from España: Facultad de Bellas Artes de Valencia Universidad de Granada Facultad de Bellas Artes de Pontevedra, Universidad de Vigo Facultad de Bellas Artes de Santa Isabel de Hungría. Universidad de Sevilla Facultad de Bellas Artes. UPV/EHU Universidad del País Vasco/Euskal Herriko Unibertsitatea Universidad Miguel Hernández de Elche Universidad de Zaragoza

51 37 speakers from España: Facultad de Bellas Artes de Valencia Universidad de Granada Facultad de Bellas Artes de Pontevedra, Universidad de Vigo Facultad de Bellas Artes de Santa Isabel de Hungría. Universidad de Sevilla Facultad de Bellas Artes. UPV/EHU Universidad del País Vasco/Euskal Herriko Unibertsitatea Universidad Miguel Hernández de Elche Universidad de Zaragoza Universitat de Barcelona, Facultat de Belles Arts.

52 1 speaker from Peru:

53 Pontificia Universidad Católica del Perú, la Facultad de Arte

54 1 speaker from Peru: Pontificia Universidad Católica del Perú, la Facultad de Arte 12 speakers from Portugal:

55 1 speaker from Peru: Pontificia Universidad Católica del Perú, la Facultad de Arte 12 speakers from Portugal: Departamento de Comunicação e Arte - Universidade de Aveiro

56 1 speaker from Peru: Pontificia Universidad Católica del Perú, la Facultad de Arte 12 speakers from Portugal: Departamento de Comunicação e Arte - Universidade de Aveiro Escola Superior de Educação, Comunicação e Desporto, Instituto Politécnico da Guarda

57 1 speaker from Peru: Pontificia Universidad Católica del Perú, la Facultad de Arte 12 speakers from Portugal: Departamento de Comunicação e Arte - Universidade de Aveiro Escola Superior de Educação, Comunicação e Desporto, Instituto Politécnico da Guarda Faculdade de Belas Artes da Universidade do Porto

58 1 speaker from Peru: Pontificia Universidad Católica del Perú, la Facultad de Arte 12 speakers from Portugal: Departamento de Comunicação e Arte - Universidade de Aveiro Escola Superior de Educação, Comunicação e Desporto, Instituto Politécnico da Guarda Faculdade de Belas Artes da Universidade do Porto Faculdade de Belas Artes da Universidade de Lisboa

59 1 speaker from Peru: Pontificia Universidad Católica del Perú, la Facultad de Arte 12 speakers from Portugal: Departamento de Comunicação e Arte - Universidade de Aveiro Escola Superior de Educação, Comunicação e Desporto, Instituto Politécnico da Guarda Faculdade de Belas Artes da Universidade do Porto Faculdade de Belas Artes da Universidade de Lisboa Ectopia, IGC/Fundação Calouste Gulbenkian,

60 1 speaker from Peru: Pontificia Universidad Católica del Perú, la Facultad de Arte 12 speakers from Portugal: Departamento de Comunicação e Arte - Universidade de Aveiro Escola Superior de Educação, Comunicação e Desporto, Instituto Politécnico da Guarda Faculdade de Belas Artes da Universidade do Porto Faculdade de Belas Artes da Universidade de Lisboa Ectopia, IGC/Fundação Calouste Gulbenkian, Universidade Nova de Lisboa/Faculdade de Belas Artes, Universidade de Barcelona..

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66 So the congress gathered more than 300 people, through all weekend, in a strong international basis..

67 -Some details

68 How was the double blind reviewing performed?

69 -Some details How was the double blind reviewing performed? Quite in a straight forward way: on submitting, each author was requested, by the CfP, to send two attachments with the same word title.

70 -Some details How was the double blind reviewing performed? Quite in a straight forward way: on submitting, each author was requested, by the CfP, to send two attachments with the same word title. For example, the two files from the same author:

71 -Some details How was the double blind reviewing performed? Quite in a straight forward way: on submitting, each author was requested, by the CfP, to send two attachments with the same word title. For example, the two files from the same author: palavra_a.doc : this contained the title and full author data.

72 -Some details How was the double blind reviewing performed? Quite in a straight forward way: on submitting, each author was requested, by the CfP, to send two attachments with the same word title. For example, the two files from the same author: palavra_a.doc : this contained the title and full author data. palavra_b.doc : this contained the paper, no author on it.

73 -Some details How was the double blind reviewing performed? Quite in a straight forward way: on submitting, each author was requested, by the CfP, to send two attachments with the same word title. For example, the two files from the same author: palavra_a.doc : this contained the title and full author data. palavra_b.doc : this contained the paper, no author on it. Only _b type *.docs were sent to the members of the reviewing commission, scattered through different cities in Portugal.

74 -Some details How was the double blind reviewing performed? Quite in a straight forward way: on submitting, each author was requested, by the CfP, to send two attachments with the same word title. For example, the two files from the same author: palavra_a.doc : this contained the title and full author data. palavra_b.doc : this contained the paper, no author on it. Only _b type *.docs were sent to the members of the reviewing commission, scattered through different cities in Portugal. Why all this trouble?

75 -Some details How was the double blind reviewing performed? Quite in a straight forward way: on submitting, each author was requested, by the CfP, to send two attachments with the same word title. For example, the two files from the same author: palavra_a.doc : this contained the title and full author data. palavra_b.doc : this contained the paper, no author on it. Only _b type *.docs were sent to the members of the reviewing commission, scattered through different cities in Portugal. Why all this trouble? Well, I wanted to ensure a strict rule to my fellow acquaintances that the fact they knew me in person meant nothing, regarding the submitting review process.

76 -Some details How was the double blind reviewing performed? Quite in a straight forward way: on submitting, each author was requested, by the CfP, to send two attachments with the same word title. For example, the two files from the same author: palavra_a.doc : this contained the title and full author data. palavra_b.doc : this contained the paper, no author on it. Only _b type *.docs were sent to the members of the reviewing commission, scattered through different cities in Portugal. Why all this trouble? Well, I wanted to ensure a strict rule to my fellow acquaintances that the fact they knew me in person meant nothing, regarding the submitting review process. In fact, all the papers that came from Lisboa, were to be reviewed by members far from Lisboa..

77 Well, we had a hard work reviewing all these 80 submissions.

78 Well, we had a hard work reviewing all these 80 submissions. They were distributed between reviewers in order that each submission could be reviewed by three different committee members.

79 Well, we had a hard work reviewing all these 80 submissions. They were distributed between reviewers in order that each submission could be reviewed by three different committee members. After their comments and grading, averages could be drawn.

80 The result was a submissions’ ranking from 80 to 1, ranging from «not at all interesting» to «very interesting» in a five grade semantic differential (Ch. Osgood).

81 Well, we had a hard work reviewing all these 80 submissions. They were distributed between reviewers in order that each submission could be reviewed by three different committee members. After their comments and grading, averages could be drawn. The result was a submissions’ ranking from 80 to 1, ranging from «not at all interesting» to «very interesting» in a five grade semantic differential (Ch. Osgood). The submissions that were considered «not at all interesting» by at least two out of three reviewers, were refused.

82 Well, we had a hard work reviewing all these 80 submissions. They were distributed between reviewers in order that each submission could be reviewed by three different committee members. After their comments and grading, averages could be drawn. The result was a submissions’ ranking from 80 to 1, ranging from «not at all interesting» to «very interesting» in a five grade semantic differential (Ch. Osgood). The submissions that were considered «not at all interesting» by at least two out of three reviewers, were refused. Some of the submissions were returned to their authors for minor formal adjustments, according to the reviewers precise comments.

83 Well, we had a hard work reviewing all these 80 submissions. They were distributed between reviewers in order that each submission could be reviewed by three different committee members. After their comments and grading, averages could be drawn. The result was a submissions’ ranking from 80 to 1, ranging from «not at all interesting» to «very interesting» in a five grade semantic differential (Ch. Osgood). The submissions that were considered «not at all interesting» by at least two out of three reviewers, were refused. Some of the submissions were returned to their authors for minor formal adjustments, according to the reviewers precise comments. We ended with 73 accepeted submissions to the congress, and 54 out of these were graded «quite interesting» or more..

84 -Turning point: an international Journal

85 -Turning point: an International Journal This was the turning point where we took one step further.

86 -Turning point: an International Journal This was the turning point where we took one step further. This step was to publish an international Journal, double blind peer reviewed.

87 -Turning point: an International Journal This was the turning point where we took one step further. This step was to publish an international Journal, double blind peer reviewed. The review was already performed.

88 -Turning point: an International Journal This was the turning point where we took one step further. This step was to publish an international Journal, double blind peer reviewed. The review was already performed. Only the top graded articles were selected for the 1 st issue.

89 -Turning point: an International Journal This was the turning point where we took one step further. This step was to publish an international Journal, double blind peer reviewed. The review was already performed. Only the top graded articles were selected for the 1 st issue. This art studies Journal is called :ESTÚDIO.

90 -Turning point: an International Journal This was the turning point where we took one step further. This step was to publish an international Journal, double blind peer reviewed. The review was already performed. Only the top graded articles were selected for the 1 st issue. This art studies Journal is called :ESTÚDIO. It was delivered at the CSO’2010, last March, at Lisboa.

91 -Turning point: an International Journal This was the turning point where we took one step further. This step was to publish an international Journal, double blind peer reviewed. The review was already performed. Only the top graded articles were selected for the 1 st issue. This art studies Journal is called :ESTÚDIO. It was delivered at the CSO’2010, last March, at Lisboa. The :ESTÚDIO was born in the artistic studies field and in the art research at its core.

92 -Turning point: an International Journal This was the turning point where we took one step further. This step was to publish an international Journal, double blind peer reviewed. The review was already performed. Only the top graded articles were selected for the 1 st issue. This art studies Journal is called :ESTÚDIO. It was delivered at the CSO’2010, last March, at Lisboa. The :ESTÚDIO was born in the artistic studies field and in the art research at its core. It will remain open to submissions in a biannual basis.

93 -Turning point: an International Journal This was the turning point where we took one step further. This step was to publish an international Journal, double blind peer reviewed. The review was already performed. Only the top graded articles were selected for the 1 st issue. This art studies Journal is called :ESTÚDIO. It was delivered at the CSO’2010, last March, at Lisboa. The :ESTÚDIO was born in the artistic studies field and in the art research at its core. It will remain open to submissions in a biannual basis. It is hoped that a consistent international flux is generated, in the field of art studies..

94 :ESTÚDIO Journal cover.

95 http://sites.google.com/site/estudiorevista/

96 This is the tale of :ESTÚDIO Journal.

97 This is the tale of :ESTÚDIO Journal. I believe there is some novelty on this:

98 This is the tale of :ESTÚDIO Journal. I believe there is some novelty on this: an international peer blind reviewed journal, with demanding and strict quality recognizable patterns.

99 This is the tale of :ESTÚDIO Journal. I believe there is some novelty on this: an international peer blind reviewed journal, with demanding and strict quality recognizable patterns. The criteria of the reviewing are objective and replicable.

100 This is the tale of :ESTÚDIO Journal. I believe there is some novelty on this: an international peer blind reviewed journal, with demanding and strict quality recognizable patterns. The criteria of the reviewing are objective and replicable. It is expected that both general public and art professionals can have a different perspective over other artists’ work, different points of view.

101 This is the tale of :ESTÚDIO Journal. I believe there is some novelty on this: an international peer blind reviewed journal, with demanding and strict quality recognizable patterns. The criteria of the reviewing are objective and replicable. It is expected that both general public and art professionals can have a different perspective over other artists’ work, different points of view. That is a unique point of view that only artists can grant..

102 As for these two outputs, the congress and the journal, they are now two things apart.

103 As for these two outputs, the congress and the journal, they are now two things apart. The annual congress CSO’2011 is already under Call for Papers, until December 2010, in order to take place in April 2011.

104 As for these two outputs, the congress and the journal, they are now two things apart. The annual congress CSO’2011 is already under Call for Papers, until December 2010, in order to take place in April 2011. The theme is the same, the artists perspective on other artists work.

105 As for these two outputs, the congress and the journal, they are now two things apart. The annual congress CSO’2011 is already under Call for Papers, until December 2010, in order to take place in April 2011. The theme is the same, the artists perspective on other artists work. The deadline is December 31.

106 As for these two outputs, the congress and the journal, they are now two things apart. The annual congress CSO’2011 is already under Call for Papers, until December 2010, in order to take place in April 2011. The theme is the same, the artists perspective on other artists work. The deadline is December 31. The biannual :ESTÚDIO journal is accepting submissions for the next issue, to come out this winter.

107 As for these two outputs, the congress and the journal, they are now two things apart. The annual congress CSO’2011 is already under Call for Papers, until December 2010, in order to take place in April 2011. The theme is the same, the artists perspective on other artists work. The deadline is December 31. The biannual :ESTÚDIO journal is accepting submissions for the next issue, to come out this winter. This next issue will have a theme, self-portrait / self representation..

108 As for these two outputs, the congress and the journal, they are now two things apart. The annual congress CSO’2011 is already under Call for Papers, until December 2010, in order to take place in April 2011. The theme is the same, the artists perspective on other artists work. The deadline is December 31. The biannual :ESTÚDIO journal is accepting submissions for the next issue, to come out this winter. This next issue will have a theme, self-portrait / self representation. The deadline is close, July 15..

109 -Discourse space.

110 If we take a notice to the bios’ of the authors that came to Lisboa, you will find that artists do have today an intellectual, critical and research empowerment that was hard to congregate just ten years ago.

111 -Discourse space. If we take a notice to the bios’ of the authors that came to Lisboa, you will find that artists do have today an intellectual, critical and research empowerment that was hard to congregate just ten years ago. The discourse capacity of the artists seem to allow new platforms of dissemination and critique.

112 -Discourse space. If we take a notice to the bios’ of the authors that came to Lisboa, you will find that artists do have today an intellectual, critical and research empowerment that was hard to congregate just ten years ago. The discourse capacity of the artists seem to allow new platforms of dissemination and critique. The ‘author,’ once thought to be dead in the context of the post structural framework, is somewhat back,

113 -Discourse space. If we take a notice to the bios’ of the authors that came to Lisboa, you will find that artists do have today an intellectual, critical and research empowerment that was hard to congregate just ten years ago. The discourse capacity of the artists seem to allow new platforms of dissemination and critique. The ‘author,’ once thought to be dead in the context of the post structural framework, is somewhat back, emerging now as an agent of liason, a constructor of new social relationships, a systematic and real curator of the knowledge their pears added to the world, a discourse mediator.

114 -Discourse space. If we take a notice to the bios’ of the authors that came to Lisboa, you will find that artists do have today an intellectual, critical and research empowerment that was hard to congregate just ten years ago. The discourse capacity of the artists seem to allow new platforms of dissemination and critique. The ‘author,’ once thought to be dead in the context of the post structural framework, is somewhat back, emerging now as an agent of liason, a constructor of new social relationships, a systematic and real curator of the knowledge their pears added to the world, a discourse mediator. Discourse.

115 -Discourse space. If we take a notice to the bios’ of the authors that came to Lisboa, you will find that artists do have today an intellectual, critical and research empowerment that was hard to congregate just ten years ago. The discourse capacity of the artists seem to allow new platforms of dissemination and critique. The ‘author,’ once thought to be dead in the context of the post structural framework, is somewhat back, emerging now as an agent of liason, a constructor of new social relationships, a systematic and real curator of the knowledge their pears added to the world, a discourse mediator. Discourse. This is the space that CSO congress came to explore.

116 -Discourse space. If we take a notice to the bios’ of the authors that came to Lisboa, you will find that artists do have today an intellectual, critical and research empowerment that was hard to congregate just ten years ago. The discourse capacity of the artists seem to allow new platforms of dissemination and critique. The ‘author,’ once thought to be dead in the context of the post structural framework, is somewhat back, emerging now as an agent of liason, a constructor of new social relationships, a systematic and real curator of the knowledge their pears added to the world, a discourse mediator. Discourse. This is the space that CSO congress came to explore. This is the space the :ESTÚDIO Journal came to explore...