Call for Papers

Extended Call for Papers
Deadline for submissions: July 15th 2021
Acceptance notification: 9th August 2021 (TBC)

Our relationship with the body and the material world has been transforming following processes of digitalization that were in motion before COVID-19 but, as consequence, were potentially accelerated. It is urgent to foster research on what is the place for physicality and (i)materiality in our time. In this context, the 1st Graduate Conference on Science and Technology of the Arts will focus on the intertwinement of notions of motion and emotion through interdisciplinary approaches from and towards the arts and/or heritage. Please see below detailed descriptions of these fields.

Contributions from the fields of Artistic Practices (Cinema, New Media Art, Digital Art, Music and Sound in particular), Artistic Studies and Cultural Studies, Heritage Studies and Conservation and Restoration are welcome, in multiple formats: papers, performances, artworks and installations, posters, audio-visual and digital essays. 

This conference aims to explore and discuss works covering the following themes/topics:

1.   [e]motion

It is through our bodies that we understand ourselves, others, the lived world (Merleau-Ponty, 2002). Significant relationships established between body and environment underpin perceptual and affective experiences from which individual concepts, prepositions, and discourses, grow. Physical impressions are blended with cognitive processes as we think, understand, feel through our living (moving!) bodies, as claimed by embodied cognition theories (Varela et al., 2016; Leman, 2016).

In this domain we aim to focus on the role bodily movement assumes as expressive/emotion inducer and mediator of physical and virtual experiences, evoking the concept of motion as a link between past, present, and future, which unfolds in space and time upon the succession of previous positions, and is common to all living forms. Research and artworks centred in motion, emotion, technology, as well as their intertwinements are encouraged, in line with the following topics:

Body poetics 
Expression in movement
Place and memory
Gesture and sound
Motion and emotion
Motion and imagery
Presentiality and virtuality
Participatory approaches in heritage making
Sensory augmentation of artistic practices
Technological mediation and interfaces
Virtual archaeology and conservation


2.   commotion

The acceleration of the processes of digitalization, in its present condition, leads to a social acceleration that is responsible for the compression of the present (Rosa, 2013), towards a state of constant and non-stop production (Crary, 2018). The contemporary overexposure to information and images causes innumerous cognitive and emotional transformations (Stalder, 2018), following the project of an economic system based around the production of isolation (Debord, 1967). 

With the increase of screen time, propelled by addictive content and algorithms that foster the visibility of emotional and controversial content, our consciousnesses (and our data) become the main asset of the attention economy. Therefore, our ability to develop and engage with communitarian and collective structures and relationships is reduced. At the same time, following Stiegler (2018) proposal of the technological pharmakon, technology might provide the tools and perspectives to critically transform its negative impact into a critical practice of education and resistance. Theoretical proposals and artworks that critically analyse the digital commotion and/or propose forms to expand the forms of contemporary experience, e.g. according to the following topics:


Affect theory and philosophical perspectives on mind-body problem
Emotional and cognitive effects of the digital
High-speed society and acceleration of information flows
Collecting now
Digital heritage
Individualism and posthumanism
Liquidity and transparency
Shrinking alternative futures 
Critique of the apparatus(es)
The digital pharmakon

3.   onward motion

The disturbances caused by the COVID-19 pandemic had a significant impact on multiple sectors of activity worldwide, including arts and culture. Either by exposing underlying fragilities or by questioning established practices, the pandemic forced museums and other cultural institutions to reconsider audience and public engagement, both online and offline (Grupo de Projeto Museus no Futuro, 2020). Faced with a bleak scenario regarding the recovery of international tourism – a force that has been placed at the heart of growth strategies in its association to cultural heritage (Waterton, Watson, Silverman, 2017) – the focus was shifted to national and local publics. Even so, the acceleration of processes of digitalization, potentialized by the pandemics, resulted in the accentuation of socioeconomic inequalities, behind issues of technology and internet accessibility, affecting cultural and civic participation. Nevertheless, the online pandemic enabled the discussion of emergent topics, at a global level, such as climate change, gender and racial inequality, and (post)colonialism, revealing inherent tensions between cultural localisation and delocalisation processes. Moving forward pandemic times, how can cultural institutions support equality and representation from/within increasingly glocal communities (Robertson, 1995; Gikandi, 2001)? What can be the role of artists and a growingly number of different heritage practitioners (Clark, 2019) to promote participation, inside and outside physical spaces? How can (cultural) heritage contribute to social and economic resilience through the promotion of sustainable practices (Culture 2030 Goal Campaign, 2019)?

We encourage discussion through the submission of essays, papers, case-studies, practice-based research and/or artworks related to the following topics:

Artistic creation and cultural participation in (post)pandemic times
Conservation and holistic perspective in the 21st century
Community engagement and heritage education through the arts
Curatorial activism and empowerment through the arts
Artistic creation as heritage making
Artivism, politics and ecology

Equality and representation in cultural 

Heritage justice
Topography of the possible


  • Conferência de Porto Santo (2021). Carta de Porto Santo. Ministério da Cultura. 
  • Clark, K. (2019). Further Exploration: Ten Principles of Values-Based Heritage Practice. In P. M. Messenger & J.S. Bender (Eds.), History and Approaches to Heritage Studies (pp. 150-153). University Press of Florida.
  • Culture 2030 Goal Campaign. (2019). “Culture in the Implementation of the 2030 Agenda”. Published in Barcelona, Paris, Harare, Sydney, Montreal, The Hague and Brussels, within the context of the first United Nations Sustainable Development Goals Summit on 24-25 September 2019. 
  • Debord, G. (2002). The society of the spectacle (Perlman, Trans.). Black & Red. (Original work published 1967).
  • Gikandi, S. (2001). Globalization and the Claims of Postcoloniality. The South Atlantic Quarterly, 100(3), 627-658.
  • Grupo de Projeto Museus no Futuro. (2020). In C. Camacho, C. (org.), Relatório Final. Ministério da Cultura.
  • Hartmut, R. (2013). Social Acceleration: A New Theory of Modernity. Columbia University Press.
  • Leman, M. (2016). The expressive moment: how interaction (with music) shapes human empowerment. MIT Press.
  • Merleau-Ponty, M. (2002). Phenomenology of Perception. In Central Works of Philosophy Volume 4: The Twentieth Century: Moore to Popper. Routledge.
  • Robertson, R. (1995). Glocalization: Time-Space and Homogeneity-Heterogeneity. In M. Featherstone, S. Lash, and R. Robertson (Eds.), Global Modernities (pp. 25-44). Sage Publications.
  • Silverman, H.; Waterton, E.; Watson, S. (Eds.). (2017). Heritage in Action – Making the Past in the Present. Cham: Springer.
  • Stalder, F. (2018). The digital condition. Polity Press.
  • Stiegler, B. (2018). The neganthropocene. Open Humanities Press.
  • Varela, F. J., Thompson, E., & Rosch, E. (2016). The Embodied Mind: Cognitive Science and Human Experience (Revised Edition). MIT Press.

Disclaimer: Due to COVID-19 pandemic, this event may take a hybrid format. Any changes to the program will be communicated by the event's Organizing Committee in due course, according to the evolution of the global pandemic situation.