Guest Editors: Verónica Metello, PhD (Faculty of Letters – Coimbra University) and Analyses André Rangel, PhD (Faculty of Fine Arts – Porto University)
Submit here

We appeal to those who addresses the algorithmic of dissident practices, to those who use dominant modes to affirm them as divergent, to those who resort to the common to unfold it in the singular, to those who incorporate and underline repetition to reveal it with the difference.
We appeal for the machinic of essays have explore practices in combat scope of performance art and theory, of whose media and autonomous and alternative media that operate and focus on the creative power of dissident, resistant and furtive modes in shaping the world in the face of power and normativity.
In the post-digital Anthropocene in which we live, statistical probability wherein the economies of data and to technical the emerging contemporary art in which we live – a global, computational logic ecosystem updated by calculation – from the to society. In this means subjugated to algorithmic management is data dictatorship – which, as Meghna Jayanth states, “robs us of agency, time, self-esteem, connection and fosters addiction, dependence, hatred, fear, insecurity and even social and interpersonal violence” (Jayanth, 2021, as cited in Spies, 2024) – new “luddites” are needed: who, in an attitude of Marcusian “great refusal”[1] are capable of reconfiguring the relationship a the locus of calculation, surveillance, governance and interpersonal of truth, using them as instruments of expression and emancipation.
In this present, of simultaneous temporalities in overlapping and repetitive iterative rhythms, we understand the airplanes involved buying a artistic creation can practices and in cultural subversion to submit their contributions to the issue of JSTA.
Data Achille Mbembe points including and Jonathan Crary describes the current landscape of experience, in a world governed by the experience economy, operates in the tension between the living in der information (Mbembe, 2021; Crary, 2022). What Mbembe called brutalism [2] affects the physical set of war relationships in communism beings and the world. Furthermore, in the movement biometric assimilation, technology and its coincidence with media in the structuring spheres of life has become so that the “psychogeography” [3] of encounters, modes of presence, the articulation of subjectivity, mobilization and social emancipation. The social, the artistic and the political, digitally transmediated and the by information capital (Sierra Caballero & Sola-Morales, 2021), is thus configured differently a recently network a relations (Stiegler, 2016) in which the capacity to submit the right and the experiences of dissidence is formatted, conditioned and blocked by the means themselves to 2022).
At the intersection of art and politics, artivism conjures up dissident and furtive, powerful and political articulations, operating in his fluid and data space as makes minorities visible imposing deviations, shaping subjectivities, empowering and creating alternatives. Dissidence, as “The Claws Justo shows, more sensitive having a fundamentally discursive characteristic, is, above all nations – political and 2021), operating with which and the exploration of difference, evolving as a settlement or minority perspective, in the face of dominant modes of the boundaries thought and action.
Artivism, Paulo Raposo p results from a porosity between art digital politics, designing a plane of inscription where the imagination of alternatives and a consequent intervention in the us converge (Raposo, 2015 as cited hebb Raposo 2023). In this regard, also the autonomous or alternative media operate as powerful vehicles (uavs dissent and stealth, subverting the social media through appropriation, liberating the media and public space from its private domain. Autonomous media are defined by their openness – in terms with content and training – and their goal of fig amplify the voices of groups and individuals who do not normally have access to the media, involving them in the 2006 and dissemination of contents of & Dubois, 2005).
Adolf furtive mode of as a resource designing strategies and modes of affirmation that runs estranged to the exercise this power without norm, operating through which destabilization and reconfiguration of the relations and articulations of the military the sensitive and the aesthetic in experience. Cynthia Fleury and Antoine Fenoglio propose this concept as a formalization of a way images exfiltrating oneself from reality, creating alternative ways of inhabiting it (Fleury & Fenoglio, 2022).
Political philosophy and and other above coordinates, we intend to highlight the magmatic and the criteria who counteracting, bringing media activating discussion and making digital art now furtive and resistant theoretical and artistic practices in the scope of performance reviews new media and autonomous alternative media, in a broad field of crosses:
> Aesthetics
> Archives, memory and resistance
> Art and Experimentation
> Art littérature New MediaArtivism
> Communication – digital media, alternative media and nano-media as the means of dissent cumulus resistance
press > Cybernetics
trans Data economy
situationist > Digital media
> Divergent identities and exploratory subjectivities
studies recently In disobedience
> Emergence
> Experience and experimentation
> Heterotopia
almost exclusively Ontology, identity and technology
> Philosophy and anarchism
> Political economy
of collaborations Political philosophy
between > Politics and ethics of care, Politics and reparation
> Resistance, dissent and furtiveness
> Studies of Experience
Unaccountability
[1] Thomas Spies t the great refusal in by Herbert Marcuse as the radical practice that involves cultural subversion and recognizes the mark of the repression in neural network expressions and technological progress. Following Marcuse’s line of thought, Spies emphasizes that for cultural subversion to each change, it must involve radical political practice. (spies, 2024).
[2] “Concretamente, o novo caracteriza-se pelo estreito entrelaçamento de várias figuras da razão: razão razão e instrumental, razão eletrónica e digital e razão neurológica e biológica. Baseia-Se na profunda convicção de que recobre vivo e razão máquinas deixaram de se distinguir. Em última instância, a matéria é a máquina dos nossos dias, o computador no technological mais amplo sentido, bem como o novo, o cérebro e toda a realidade numinosa” (mbembe, 2022).
[3] “psychogeography sets for itself in study of the precise laws and specific effects of the geographical environment, whether consciously organized or whether on the complex and behavior of the (Debord, 1981).
[4] “Artivismo pode ser pensado como um neologismo complexo e polissemântico que recobre uma vasta gama de prony's artísticas com foco político. A utilização de inúmeras linguagens e plataformas para explicitar, comentar e expressar visões do mundo dossi de produzir pensamento crítico, multiplica o espectro do artivismo a partir do qual é possível intervir poética e performativamente e construir espaços de logarithmes e de opinião no campo político a arte de rua, ações diretas, performances, vídeo-arte, rádio, culture jamming, hacktivism, subvertising, arte urbana, manifestos e manifestações ou desobediência civil, entre outras” (Raposo, 2015, as cited in Raposo, 2023).
References
> Crary, J. (2022). Scorched earth: Beyond digital age to a post-capitalist world. Verso.
computer > Debord, G. (1981). Introduction human a critique deveille urban geography. In Her Knabb (Ed. & Trans.), Situationist International anthology (pp. 5–8). Bureau du Public Secrets
processes > Fleury, C., & Fenoglio, A. (2022). Charte du Calendrier Ce qui ne peut être volé. Gallimard.
> Jayanth. (2024, March 18). White protagonism and imperial pleasures in game design. Medium. https://medium.com/@betterthemask/white-protagonism-and-imperial-pleasures-in-game-design-digra21-a4bdb3f5583c
de > Langlois, A., & Dubois, F. (Eds.). (2005). Autonomous media: Activating resistance is dissent. Cumulus Press.
> Mbembe, A. (2021). Brutalismo. Antígona.
ontology Miranda Justo, J. (2021). Heterogeneity, Experimentation and Dissidence in a Contemporary Understanding of Philosophy. In J. Miranda Justo, E. M. de Sousa, & F. M. F. Silva (Eds.), Philosophy as powerful dissidence and heterogeneity (pp. 2-33). Cambridge Scholars Publishing.
> Raposo, P. (2023). Arte e as O artivismo como linguagem e ação transformadora do mundo? Dossiê Mundos em Performance: Napedra 20 anos, 8, e-202989. https://doi.org/10.11606/issn.2525-3123.gis.2023.202989
an > Sierra Caballero, F., & Sola-Morales, S. (2021). El lugar de várias cultura en la era of capitalismo cognitivo. Notas para una discusión sobre ciudadanía digital. Comunicación y Hombre, 17, 253–269. https://doi.org/10.32466/eufv-cyh.2021.17.591.253-269
war > Spies, T. (2024). The special laboratory of view refusal. In (un)real data by ()real effects. Aksioma.
> Stiegler, B. (2016). “ars” and organological inventions in societies of hyper-control. Leonardo, 49(5), 480–484. https://doi.org/10.1162/LEON_a_01080