Intellect is pleased to announce that we have finalized an agreement for the purchase of the University of Exeter Press (UEP).
The University of Exeter Press is a humanities-based scholarly publisher founded in the 1950s, as part of Exeter University. With a list of over 300 titles, it is internationally recognized for its excellence in humanities publishing.
Simon Baker, who has run UEP for the last twenty years, will remain as Publisher. He says of the purchase: 'The two businesses share a common heritage, that of publishing the best in scholarship and a commitment to publishing it in the best possible way. I am looking forward to seeing the UEP list expand again over the coming years'.
'This is an important move in Intellect's development', says Masoud Yazdani, founder and Chairman of Intellect. 'We have built a strong reputation for publishing in new and emerging subject areas over the past 27 years. However, in order to expand, we need to form partnerships with other like-minded publishers. We have greatly benefited from our distribution partnership with the University of Chicago Press, and feel the partnership with UEP will be just as successful'.
The partnership with UEP will allow Intellect to accept book manuscripts and journal proposals in the full range of subjects in the Research Excellence Framework (REF) Art and Humanities panel D, including, linguistics, English language and literature, modern languages, modern and ancient history, classics, philosophy, theology etc.
To view University of Exeter Press's website click here.
Breaking The Myth Of The Female DJ In Electronic Dance Music
Rebekah Farrugia, author of Beyond the Dance Floor, a book which explores women in electronic dance music, has been quoted in a recent Huffington Post article on female DJs.
"When you hear a track, there's an assumption that a guy made it," explained Dr. Rebekah Farrugia, who spent two years following female DJs in San Francisco for her book Beyond the Dance Floor: Female DJs, Technology and Electronic Dance Music Culture (Intellect, 2012) "Those [stereotypes] have deep-rooted ties to the way technology is gendered as a masculine thing over the course of the 20th century."
It is record store day in Chicago. Snaking around the dusty bins at my local record shop is a line of people with their arms full of vinyl records. In this bastion of obscure albums and obscene movies, our careful and hipster shopping certainly bears no resemblance to the hordes of shoppers on the Magnificent Mile, who seem to buy asmindlessly as they wander down the side-walk. Surely our spelunking into the aging nooks and crannies of recorded musical culture is not the same as the Midwestern tourists with their arms full of bags from American Girl Place and Macy’s, is it? …
Thursday 26 September 2013, 18:30 to 20:30 - Free
Ron Athey is a central figure in the development of performance art since the early 1990s. This event marks the publication of the hugely anticipated first book devoted to his practice, Pleading in the Blood: The Art and Performances of Ron Athey, which foregrounds the prescience of Athey’s work, exploring how his visceral practice foresaw and precipitated the central place afforded sexuality, identity, and the body in art and critical theory in the late-twentieth century.
The evening will include readings from the book, screenings of Athey’s short films including Solar Anus, vignettes from his new solo performance Incorruptible Flesh: Messianic Remains, special guest Bruce LaBruce and book signings.
Presented in collaboration with the Live Art Development Agency.
Pleading in the Blood: The Art and Performances of Ron Athey. Edited by Dominic Johnson. Co-published by Intellect Books & Live Art Development Agency for Intellect Live, 2013. (Taken from the Arnolfini website)
Before summer Scopus accepted the inclusion of Catalan Journal of Communication and Cultural Studies in its index. Right now articles of issue 5.1 are already included in it. In brief CJCS will have a ranking position but at this moment the authors contributing in the issue are able to see who is citing their articles.
Issue 5.1 is containing six articles including a research on the news report during the Catalan elections in 2010; a study on early Francoist propaganda documentaries; an analysis of genre representation in a Spanish fiction serial; an article on the public relations profession in Spain and the adaptation of Grunnig paradigm on excellence; another about the presence of female journalists in Austria and the difference in their role and work conditions regarding their male colleagues; and the last on the media coverage of the royal wedding of Prince Charles and Camilla Parker Bowles. The issue is completed with a Viewpoint research note about how Belgian press reports on Catalonia and the Gateway article from David Altheide entitled Shielding risk, that offers an approach to risk communication, media and society, exploring concepts like media logic, politics of fear and surveillance society.
This part is the first of the fifth volume that soon we will be completed with a special issue on food and communication, which is already in press. The whole volume will be the first being tracked by the Scopus platform.
CALL FOR PAPERS:
The Moving Image Review & Art Journal (MIRAJ) is the first peer-reviewed publication devoted to artists’ film and video, and its contexts. It is published twice a year in print by Intellect Books in collaboration with the University of the Arts London. MIRAJ offers a widely distributed international forum for debates surrounding all forms of artists’ moving image and media artworks.
The editors invite contributions from art historians and critics, film and media scholars, curators, and, not least, practitioners. We seek pieces that offer theories of the present moment but also writings that propose historical re-readings. We welcome essays that:
re-view canonical works and texts, or identify ruptures in the standard histories of artists’ film and video;
discuss the development of media arts, including the history of imaging technologies, as a strand within the history of art;
address issues of the ontology and medium-specificity of film, video and new media, or the entanglement of the moving image in a ‘post-medium condition’;
attempt to account for the rise of projected and screen-based images in contemporary art, and the social, technological, or political-economic effects of this proliferation;
investigate interconnections between moving images and still images; the role of sound; the televisual; and the interaction of the moving image with other elements including technology, human presence and the installation environment;
analyse para-cinematic or extra-cinematic works to discover what these tell us about cinematic properties such as temporal progression or spectatorial immersion or mimetic representation;
explore issues of subjectivity and spectatorship;
investigate the spread of moving images beyond the classical spaces of the cinema and
galleries, across multiple institutions, sites and delivery platforms;
consider the diverse uses of the moving image in art: from political activism to pure
sensory and aesthetic pleasure, from reportage to documentary testimony, from
performativity to social networking;
suggest new methods of theorizing and writing the moving image.
We welcome work that intersects with other academic disciplines and artistic practices. We encourage writing that is lucid without compromising intellectual rigour.
We publish the following types of writing: scholarly articles (5000–8000 words); opinion pieces, feature articles and interviews (3000 words); review essays of books, individual works, exhibitions and events (2000–3500 words). Scholarly articles will be blind peer-reviewed and feature articles and review essays can be peer-reviewed on request. All writings should propose a central idea or thesis argued through a discussion of the work under review.
Articles submitted to MIRAJ should be original and not under consideration by any other publication, including online publications. We do not publish articles by artists about their own work, nor reviews by curators or venues about their own exhibitions.
Issue 3.2, Scholarly Articles and Review Essays are unthemed and open to any submissions within the aims and scopes of MIRAJ. The Features section will include themed articles on 'Institutions' and welcomes submissions that address the broad resonances of this theme in artists' moving image, including but not limited to: the role of art schools and other educational establishments in the production, distribution, and exhibition of artists' moving image; case studies of particular institutions; the challenges film labs and co-operatives face in a digital era; the role of the academy; informal institutions; first-hand reflections on working in a particular institutional context; the relationship between experimental film and moving image practices in the gallery as modes of production.
Deadline for Issue 3.2: 18 April 2014
Issue 4:1 ‘Feminisms’. The current resurgence of feminist debate in western cultures has produced a spate of retrospectives charting the rise of feminist art by women in Europe and North America in the 1960s and ‘70s. While debates now incorporate multiple and global feminisms, the use of the moving image, as a mode of documentation, advocacy and activism, as well as an art form, remains central to women’s struggles to overcome the inequalities that the so-called post-feminist 1990s so successfully masked. We invite articles, feature articles or review articles on all aspects of women’s moving image theory and practice, both historical and contemporary, arising from the experiences of women across the globe.
Deadline for Issue 4.1: 17 October 2014
All submissions should be in English and adhere to the Intellect Style Guide (http://www.intellectbooks.co.uk/journals/page/index,name=journalstyleguide/)
Please submit completed manuscripts only. Send all contributions and proposals by e-mail in DOC or RTF format to the Editorial Assistant: firstname.lastname@example.org
Founding Editor: Catherine Elwes, CCW Graduate School, University of the Arts London. Associate Editors: Sean Cubitt, Goldsmiths, University of London; Eu Jin Chua, Unitec, New Zealand; Janine Marchessault, York University, Canada.
Reviews Editor: Colin Perry, CSM, University of the Arts London.
Features Editors: Erika Balsom, King’s College, London
Editorial Board: Rachel O. Moore, Goldsmiths, University of London
The International Advisory Board includes:
Mark Bartlett; Pryle Behrman; Suzanne Buchan; Ian Christie; Stuart Comer; Maeve Connolly; David Curtis; T.J. Demos; Thomas Elsaesser; Catherine Fowler; Stan Frankland; Amrit Gangar; David E. James; Laura Mulvey; Mark Nash; Michele Pierson; Lucy Reynolds; Pratap Rughani; Catherine Russell; Tom Sherman; Lisa Steele.