ECREA WEEKLY digest ARTICLES

October 17, 2022

Online conference

Deadline: March 18, 2022

Organised by the ECREA Media Industries and Cultural Production Section

Streaming media content, live or recorded, has experienced exponential growth during the COVID19 pandemic. Streaming, understood as the digital transmission and reception of files over the Internet, refers to text, audio and video content. It has impacted upon both content distribution and consumption in a variety of sectors such as film, television, games, publishing, music, and radio/podcasts. The multiple forms and commercial models through which streaming services are organized -- from transnational streaming services, to such that target specific geographical markets or audiences, and from commercial to indie and public service streaming -- transform cultural production in manifold ways. With streaming, consumption has become more on demand and personalised.

This conference on the impact of streaming on the media industries and cultural production is particularly interested in bringing together scholars examining the impact of streaming on different media industry sectors and/or in different countries and production contexts. It especially welcomes contributions that explore the impact of streaming along different parts of the media supply-chain, from the front-end distribution and delivery of content, through content delivery networks and physical infrastructure operations.

Rather than the usual format, this online conference will consist of workshops made up of 5-10-minute provocations/statements designed to generate debate and discussion.

We also welcome pre-constituted workshops of four or five 5-10-minute provocations/statements, as well as workshops that include industry participants.

Two slots per session will be ringfenced for early career researchers, pending sufficient applications. Please indicate if you are an early career researcher in the Abstract.

For 5-10-minute provocations/statements, please submit an abstract of maximum 150 words, and a biography of maximum 100 words. Individually submitted provocations will be formed by the selection committee into workshops consisting of 4-5 provocations.

For pre-constituted workshops of four or five 5-10-minute provocations/statements, please submit a maximum 800 word abstract summarising the overall theme for the workshop and the contribution of each participant, and a maximum 100 word biography for each participant.

The deadline for submissions is 18 March 2022. Submission link: https://easychair.org/conferences/?conf=smicpoct2022ecreapc

We will notify all authors of acceptance/ rejection by 26 April 2022.

For questions regarding the pre-conference and/or abstract submission, please email Maria Michalis, University of Westminster

m.michalis@westminster.ac.uk

The authors of accepted papers are expected to present their papers or short provocations/statements online on Monday 17th October.

This is a free conference. There are NO registration fees.

February 17, 2022 

Meet the editors and authors of the new collection "The COVID-19 Pandemic as a Challenge for Media and Communication Studies", Kopecka-Piech K., Łódzki B., (eds.) Routledge: 2022. Online book launch will take place on 17.02.22, 16-17 CET. Join us on Google Meet: https://meet.google.com/ydk-saxx-ugz

March 3-4, 2022

Online symposium

The Department of Communication, Media and Film is thrilled to host “Cinemas of Global Solidarity”, a two-day virtual symposium with an outstanding list of international speakers.

This symposium will explore the entwined legacies of anti-capitalist and anti-imperialist internationalism in the cinema with a view toward contemporary forms of politicized moving image culture. Presentations will focus on how film, in both its aesthetic strategies and broader circuits of distribution and exhibition, has worked as an instrument of global coalition building, imagining alternatives to the uninhibited flows of market finance and the militarized borders of the nation state. In confronting the problem of solidarity in its diverse geopolitical, historical, and conceptual dimensions, the symposium brings together a group of scholars whose work spans from the Communist international solidarity documentaries of the 1920s and 1930s, to the third cinemas and counter-cinemas of the 1960s and 1970s, to more recent iterations of world cinema, decolonial cinema, and the militant image. We aim to respond to a growing impetus within film and media studies to reopen both the influential and overlooked film radicalisms of the past in order to better conceptualize the role of cinema within the ideological battle-lines of advanced capitalism.

Speakers include:

• Rizvana Bradley (University of California, Berkeley)
• Luca Caminati (Concordia University)
• Matthew Croombs (University of Calgary)
• Rosalind Galt (King’s College London)
• Malini Guha (Carleton University)
• Sarah Hamblin (University of Massachusetts Boston)
• Pato Hebert (New York University)
• Alexandra Juhasz (Brooklyn College)
• John MacKay (Yale University)
• Mariano Mestman (University of Buenos Aires)
• Lakshmi Padmanabhan (Northwestern University)
• Philip Rosen (Brown University)
• Masha Salazkina (Concordia University)
• Ling Zhang (Purchase College)

Please register at cinemasofglobalsolidarity.com to attend.

University of Zurich, Switzerland

The Media & Internet Governance Division (Prof. Dr. Natascha Just) at the Department of Communication and Media Research at the University of Zurich invites applications for a position as senior research and teaching associate/postdoctoral researcher (80%). Start of employment: August 1, 2022 (or upon agreement)

The Media & Internet Governance Division studies media policy and media economics in the convergent communications sector. Alongside research on traditional mass media, the division focuses on Internet Governance and Platform Studies.

Your responsibilities

• Collaboration in the Division's research projects and research proposals
• Further academic qualification within the Division's research and teaching areas that qualifies for application for a professorship
• Publications and conference participation
• Teaching
• Student supervision and administrative work

Your profile

• PhD degree in communication science, a related discipline in the social sciences or in law
• Excellent knowledge in the fields of media policy and Internet Governance; knowledge of media economics and media law of advantage; interest in theory building
• Strong interest in further academic qualification (habilitation or equivalent qualification)
• Very good knowledge of qualitative and/or quantitative research methods and their applications; experience with statistical and other analysis software
• Strong team orientation
• Accurate and reliable work attitude
• Excellent time management, ability to take initiative and independent work attitude
• Proficiency in written and spoken German and English; additional foreign languages (Swiss national languages in particular) of advantage

What we offer

• Work in an internationally highly successful department: IKMZ is among the top 5 communication science departments in Europe and the top 20 worldwide
• An internationally competitive salary
• A supportive, globally connected, research-oriented team
• Excellent opportunities for further academic qualification and strong support for career development
• An attractive work environment: the University of Zurich is Switzerland's largest university. Zurich is a vibrant, cosmopolitan city that regularly ranks as one of the cities with the highest quality of life in the world

Application

Your application should include a motivation letter, a CV with a list of publications, conference presentations and other previous academic achievements, proof of degrees (certificates) and up to three selected scientific publications in one PDF file

Further information and application details:

https://jobs.uzh.ch/offene-stellen/senior-research-and-teaching-associate-postdoc-position/3d0a6c14-514d-41cd-be00-b9e510fea351

The University of Zurich is committed to gender equality, diversity and inclusion. It therefore expressly invites all qualified persons to apply for this position.

NECSUS

Deadline: March 15, 2022

Edited by Josephine Diecke, Dr. Bregt Lameris, and Dr. Laura Niebling

With this special section of NECSUS we would like to provide a platform for the debate on media and materiality as it has been evolving with the digital turn. By approaching the topic of materiality and its effects on the basis of material objects, different paths and debates open up. Whether through a historical analysis of an object’s meaning, its relationship with the media environment, or its access and (digital) reproduction with the help of interfaces – questions of the material and immaterial constitution of objects arise from almost all perspectives. In this special section we would like to bring them together in order to explore the numerous levels of materiality in the media objects surrounding us.

Starting from the object itself, we aim to open up a range of perspectives on its (im-)materialilty, particularly acknowledging that media histories not only run simultaneously, but have plural meanings in the process. To invite and bring together some of the views currently discussed in media studies and beyond, we ask: What kind of materiality does an object bring with it and which cultural spaces surrounding it have to be considered? How do we contextualise a material object with analog or digital approaches?

Although the materiality of media has always mattered, the discursive boundaries between materiality/immateriality, old/new, waste/innovation, and obsolete/modern seem to gain new significance in the digital era in particular. Previously established and standardised media objects are disappearing from public and private spaces, which is something Samual Wilson called the ‘crises of materiality’. Furthermore, digital media are increasingly discussed with regards to their material status and environmental footprint due to their mode of production. In this context, the transition from analogue to digital has opened up new paths for investigations into the conservation and preservation of analogue media practices with the help of digital tools.

Over the past decades, interdisciplinary research at the intersection of media archaeology and science and technology studies (STS) has emerged, while other projects combined natural sciences and (digital) humanities to closely investigate media objects as historical sources. Our interest also lies with the range of so-called ‘experimental media archaeological’ initiatives, which have been launched to (re)gain agency over techniques and tools, often in the form of collaborations between academia and archives. We especially invite articles on these approaches of re-configuring tacit material knowledge in the context of media history. To this end, the role of materiality shall also be addressed, as it is particularly negotiated, exhibited, and discussed in many ways in the museum context, up to and including entire institutions dedicated to the topic itself.

In recent years, the materiality of media and the corresponding artifacts and concepts have been culturally charged with new values, connotations, and symbolic perspectives, including and reaching beyond their historical functions for example as user objects or design tokens. These manifold values and positions are the topic of an extensively growing media theoretical debate with new experimental practices of media research, art, and curating. Equally, artistic practices are returning to analogue formats with an increasing number of analogue laboratories and stand-alone artists pushing a practice-oriented counterculture of experimental filmmaking with photochemical processes, providing a varied range of new kinds of knowledge. We also invite perspectives into these practices of artistic re-production of material knowledge.

In this special section we will reflect on this constellation of ideas, concepts, and practices that is currently developing with regard to media materialities. We wish to emphasise that we are interested in contributions concerning a broad range of audiovisual media, such as film, video, new/digital media, and the entire range of sound technologies and equipment. This call for submissions invites contributions dealing with, but not limited to, #Materiality and the following topics:

# New (digital) materialisms, obsolescence, sustainable media, and ecological sensibilities, in relation to consumer culture

# Media art, found footage, and experimental film

# DIY culture as well as re-use and re-mixed culture, including questions on material aesthetics

# Experimental media archaeology, embodiment, and tacit knowledge, and the tactility and haptics of media knowledge production via materiality and objects

# Preservation and restoration, curating and exhibiting the materiality of media, history and practice of playback machines and practices

# Dispositif and apparatus theory

# Phenomenology

We also invite submissions on the intersection between academic research and artistic practice. Submissions may address the audiovisual essay as an old and new method of doing media studies; also, practice-based research or research-creation as evolving methods of knowledge production and performance. We look forward to receiving abstracts of 300 words, 3-5 bibliographic references, and a short biography of 100 words by 15 March 2022 to g.decuir@aup.nl On the basis of selected abstracts, writers will be invited to submit full manuscripts (6,000-8,000 words, revised abstract, 4-5 keywords) which will subsequently go through a double-blind peer review process before final acceptance for publication.

NECSUS also accepts proposals throughout the year for festival, exhibition, and book reviews, as well as proposals for guest edited audiovisual essay sections. We will soon open a general call for research article proposals not tied to a special section theme. Please note that we do not accept full manuscripts for consideration without an invitation. Access our submission guidelines at https://necsus-ejms.org/guidelines-for-submission/

Studies in Communication Sciences (SComS)

Deadline (Abstracts): February 15, 2022

Edited by Gabriele Balbi (USI Università della Svizzera italiana), Berber Hagedoorn (University of Groningen), Nazan Haydari (Istanbul Bilgi University)

We are seeking contributions for a thematic section of Studies in Communication Sciences (SComS) exploring on the persistence of old media.

This Thematic Section aims to better understand the reasons why, despite the popular discourses of disruptive innovation of the digital age, old media persist over time. Specifically, it seeks to elucidate the very current examples of past continuities in the brand-new digital world. In several media sectors, “old” or traditional media, such as landline telephony, television, radio, film, printing, analogue photography and music, have not disappeared – despite voices to the contrary (see, amongst others, Enli & Syvertsen 2016). Depending on social, cultural, and political contexts, these industries and platforms can be preferred spaces of communication and maintain their potential as profitable businesses. Old media also persist in terms of content, political mentality, business, law, regulation, audience and usage. We aim to better understand the reasons why this is the case. Why is the old persisting? The Thematic Section should ideally generate theoretical and empirical debates among media scholars from diverse disciplines in media and culture studies, with specific case studies but also theoretical reflections on this topic. We are aware of the fact that journals, conferences, and books are devoted to “old media” today. But the aim of this Thematic Section is different: It aims to provide a comprehensive and intermedial reflection on: (1) the persistence of the old and past continuities in the brand-new digital world; (2) the role of innovation that old or traditional media still play in societies today, and (3) the future of old media in media studies research. Mapping the continuities and discontinuities between the contemporary and inherited practices of media constitutes a new mode of inquiry into the historiography of media. Dialectic relationships between old and new media also provide political, methodological and theoretical cues in understanding the contemporary media landscape.

Media and communication studies today especially focus on questions surrounding how digital media and digitization have changed and revolutionized previous media ecologies. Funding opportunities, PhD dissertations, journals and books on digitization and the relevance of digital media are overwhelming. This Thematic Section is an invitation to discuss how studying old media is imperative and still fully relevant to understand our contemporary media landscapes. The integration of old and new or digital media seems to be more effective than disruptive models, and the so-called “old media” are still used and appreciated by media audiences worldwide. The Thematic Section aims to question and challenge classic narratives of contemporary media studies, including but also venturing beyond (a) the linear model of replacement and substitution (digital media replace the old media); (b) the disruptive model in which new and digital media change markets and users’ habits completely, changing previous ecologies; and (c) the clear distinction between old and new media, analogue and digital.

Fields of research in media studies have started to rethink the relevance of the old. For example, media archaeology (Huhtamo & Parikka 2011, Parikka 2012), debates on old and new media (Acland 2007, Balbi 2015, Bolter & Grusin 1999, Natale 2016, Theophanidis & Thibault 2016, and others), and finally the role of maintenance in communication (Balbi & Leggero 2020). Most relevant reflections on the persistence of the old comes from science and technology studies (STS) and history of technology scholarship (Edgerton 2007, Henke & Sims 2020, Vinsel & Russell 2020, Krebs & Weber 2021, and others). This Thematic Section follows the intellectual footsteps of this literature, expanding it to media studies and to other fields, going beyond a mere technological approach.

Papers from different fields of media and communication studies are welcome: from history to anthropology, from cultural studies to political economy, from geography to STS, and others. We invite submissions of theoretical papers as well as papers based on sources and empirical findings and studying specific case studies.

Submitted papers have to address one or some of the following research questions:

• Why and how do old media persist in contemporary media ecologies?
• What does persistence mean in media studies?
• What is the relationship between traditional and digital media, and how traditional media are integrated in digital realms?
• How do digital media remediate old media and, vice versa, how do old media change because of digital media?
• Can old media be innovative, and how?
• Will old and traditional media be studied in the future, and how?

Submission guidelines​

SComS welcomes submissions in English, German, French, or Italian. However, English is the preferred language of this Thematic Section. Abstracts should be a maximum of 500 words in length and should explain the main research question(s), scientific literature, methodology, and case studies the authors plan to use. Please submit your abstract via e-mail to gabriele.balbi@usi.ch.

Manuscripts should be a maximum of 6000 words in length (including the abstract and all references, tables, figures, footnotes, appendices). In addition, authors may submit supplementary material that will be published as an online supplement. Authors are invited to submit original papers that are not under consideration for publication elsewhere.

Abstract submissions are due February 15 2022. Final acceptance depends on a double-blind peer review process of the manuscripts. The expected publishing date of this thematic section is November 2023. However, early submissions that successfully pass the review process will also be immediately published online first.

Contributions that receive positive reviews but are not accepted for the Thematic Section may be considered for publication in a subsequent SComS issue within the General Section

For any further information please contact Gabriele Balbi (gabriele.balbi@usi.ch).

Key dates:

• Abstract submission deadline: February 15 2022
• Selection of abstracts done by the Guest Editors: February 16 – March 15 2022
• Authors receive confirmation of selection of papers: March 30 2022
• Full paper submission deadline: June 15 2022
• First round of peer reviews on the papers: June–July 2022
• Reviews back to authors: August 15 – September 1 2022
• Resubmissions deadline: November 1 2022
• Second round of peer reviews on the papers: November and December 2022
• Notification of acceptance no later than January 15 2023
• Submission Final paper: March 30 2023
• Editorial work on the papers (final shape-up): April 2023
• Publication of the Thematic Section is scheduled for November 2023

Reference list

Acland, C. R. (Ed.) (2007). Residual media. Minneapolis, MN: University of Minnesota Press.

Balbi, G. (2015). Old and new media. Theorizing their relationships in media historiography. In S. Kinnebrock, C.

Schwarzenegger, & T. Birkner (Eds.), Theorien des Medienwandels [Theories of media change] (pp. 231–249). Köln, Germany: Halem.

Balbi, G., & Leggero, R. (2020). Communication is maintenance: Turning the agenda of media and communication studies upside down. H-ermes: Journal of Communication, 17, 7–26. https://doi.org/10.1285/i22840753n17p7

Bolter, J. D., & Grusin, R. (1999). Remediation: Understanding new media. Cambridge, MA: The MIT Press.

Edgerton, D. (2007). The shock of the old: Technology and global history since 1900. London, UK: Profile Books.

Enli, G., & Syvertsen, T. (2016). The end of television—again! How TV is still influenced by cultural factors in the age of digital intermediaries. Media and Communication, 4(3), 142–153. https://doi.org/10.17645/mac.v4i3.547

Henke, C. R., & Sims, B. (2020). Repairing infrastructures: The maintenance of materiality and power. Cambridge, MA: The MIT Press.

Huhtamo, E., & Parikka, J. (2011). Media archaeology: Approaches, applications, and implications. Berkley, CA: University of California Press.

Krebs, S., & Weber, H. (2021). The persistence of technology: Histories of repair, reuse and disposal. Bielefeld, Germany: transcript.

Natale, S. (2016). There are no old media. Journal of Communication, 66(4), 585–603. https://doi.org/10.1111/jcom.12235

Parikka, J. (2012). What is media archaeology? Cambridge, UK: Polity Press.

Theophanidis, P., & Thibault, G. (2017). Media hysteresis. Persistence through change. Alphaville: Journal of

Film and Screen Media, 12, 8–23. https://doi.org/10.33178/alpha.12.01

Vinsel, L., & Russell, A. L. (2020). The innovation delusion: How our obsession with the new has disrupted the work that matters most. New York, NY: Currency.

University of Passau

The University of Passau (Bavaria/Germany) invites applications for fully-funded Ph.D. and postdoc positions in its new interdisciplinary DFG Research Training Group “Digital Platform Ecosystems” (DPE). The Research Training Group DPE (see https://dpe.uni-passau.de/en for more information) is a graduate excellence program generously granted by the German Research Foundation (DFG). The Research Training Group DPE forms a unique, vibrant interdisciplinary research community of leading research partners from the disciplines of information systems, management and organizational research, marketing, economics, as well as communication science.

 We are explicitly looking for students with a background in communication studies. I will be responsible for one area - this will include examining media discourses on the regulation of platforms online and offline, as well as studying the role of experts and scientific evidence in regulatory debates.

Positions are available for three years, starting in October 2022. Doctoral and post-doctoral researchers receive highly personalized mentoring and a tailored, interdisciplinary, and generously funded training program, including a three-months research stay abroad. Post-doctoral researchers receive advanced training and take on leadership responsibilities in the Research Training Group. The University of Passau (https://www.uni-passau.de/en/) has an outstanding international reputation in research and teaching, a strong focus on digitalization and digital technologies. Its award-winning campus is located in one of the most beautiful historic towns in Europe.

Interested students are welcome to contact me at any time with questions: Hannah.Schmid-Petri@Uni-Passau.De

Edited By Katarzyna Kopecka-Piech, Bartłomiej Łódzki

Purchase here: https://www.routledge.com/The-Covid-19-Pandemic-as-a-Challenge-for-Media-and-Communication-Studies/Kopecka-Piech-Lodzki/p/book/9781032134413

This truly interdisciplinary volume brings together a diverse group of scholars to explore changes in the significance of media and communication in the era of pandemic. The book answers two interrelated questions: how media and communication reality changed during the first wave of the COVID-19 pandemic, and how media and communication were effectively studied during this time.

The book presents changes in media and communication in three areas: media production, media content, and media usage contexts. It then describes the theoretical and practical, methodological, technical, organizational, and ethical challenges in conducting research in circumstances of sudden change in research conditions, emergency situations and developing crises. Drawing on various theoretical studies and empirical research, the volume illustrates the principles and results of applying diverse research methods to the changing role of media in a pandemic and offers good practices and guidance to address the problems in implementing research projects in a time of sudden difficulties and challenges.

This diverse and interdisciplinary book will be of significance to scholars and researchers in media studies, communication studies, research methods, sociology, anthropology, and cultural studies.

Comunicação e Sociedade

Deadline: March 31, 2022

Editors: Rafaela Granja (CECS, University of Minho, Portugal), Sílvia Gomes (Nottingham Trent University, United Kingdom) and Thais Sardá (Nottingham Trent University, United Kingdom)

Issues associated with crime and justice are constantly at the centre of public debate. Police violence, criminal investigations, high-profile trials and even life inside prisons are a common focus of media attention. Both media and fictional representations of crime and justice make oppositions between collective security and human rights more visible. They also reify discourses that rely on notions of “us” and “others”. However, there is a lack of debate about the profound social inequalities (racial, gender, among others) that promote such social cleavages. These tensions are explored by social movements and activists, particularly on social media, exposing various forms of violence and crime (e.g., hate crimes, racial violence, etc.). However, people deprived of freedom are restricted from acting as agents in civic mobilization due to barriers in accessing information. In this thematic issue of Comunicação e Sociedade, we invite social sciences researchers to reflect on the various forms of interconnection and disconnection between crime, justice and media, focusing on one or more of the following topics:

– perceptions about crime and justice;

– media coverage of crime and high-profile criminal cases;

– police or judicial journalism;

– media trials;

– fictional portraits of crime and justice;

– revisiting the concept of moral panic;

– police violence, racism and exclusions;

– hate crime and hate speech;

– social movements and media coverage of justice;

– techno-optimism in fighting crime;

– representations of prisons and other contexts of deprivation of liberty;

– info-exclusion of people deprived of liberty.

KEY DATES

Proposals submission: February 1 to March 31, 2022

Notification of acceptance: June 7, 2022

Deadline for the submission of the final article (PT and EN): September 20, 2022

Publication: December 2022

LANGUAGE

Papers can be submitted in English or Portuguese. At the peer-review process, the authors of selected articles should ensure the translation of their articles. The editors shall have the final decision on the publication of the article.

EDITING AND SUBMISSION

Comunicação e Sociedade is an open-access academic journal, operating according to demanding standards of the peer-review system, and operates on a double-blind peer-review process. After submission, each paper will be distributed to two reviewers, previously invited to evaluate it according to its academic quality, originality and relevance to the objectives and scope of the theme.

Originals should be submitted through the journal’s website. When accessing Comunicação e Sociedade for the first time, you must register before submitting your article (instructions to register here).

Refer to the guidelines for authors here.

For further information, please contact: comunicacaoesociedade@ics.uminho.pt.

No payment from the authors will be required.

Vista

April 30, 2022

Thematic editors: José Capela (School of Architecture, Art and Design/Lab2PT, University of Minho, Portugal) & Ana Cristina Pereira (CES, University of Coimbra)

The communication mechanisms have been a central theme of the so-called “conceptual art”. Within the broad theme of communication — and despite the porosity of artistic categories characterising this kind of art — the specific theme of visual representation assumed particular importance for artists. Millennia of pictorial figuration of reality, and decades of photography, were thus placed under scrutiny that, despite fitting into the work of art and not renouncing its artistic condition, is often close to the mission of art theory or of semiotics. Art was, accordingly, set to serve the consideration of the phenomena — namely those of communication — that underlie it. For that reason, it may be said to be a self-reflexive art: art about art.

In this new issue of Vista, we propose to focus on the entity linguistics has called “referent” and on the possibility of its resurgence beyond its mere representation — a territory that extends from the impossibility of absolute fidelity to the model (is it in the lack of fidelity that art may reside?) to the characterisations aiming at manipulating, distorting and abusing.

Much importance has been given to the most diverse form of art works’ receiver as a producer of meanings for those works. Importance is given to this phenomenon that lies downstream of the work and ultimately determines what it is to our eyes. The aim here is to highlight what lies upstream: the entity that precedes the representation and whose presence that representation intends to replace, in this case, in the specific context of the visual arts and images. This perspective may include themes such as:

• the representation of visual configuration mechanisms within artistic practices;
• the condition of the referent (absent or present) in the context of visual representation;
• the rights of the referent and iconographic ethics: between self-representation and appropriation;
• the possibility of inserting the readymade in a work/image;
• animism in visual representation;
• memory, trauma and the possibility of emancipation of the referent.

IMPORTANT DATES

Full article submission deadline: April 30, 2022

Journal publication date: continuous edition (January to June 2022)

LANGUAGE

Articles can be submitted in English or Portuguese. After the peer review process, the authors of the selected articles should ensure translation of the respective article, and the editors shall have the final decision on publication of the article.

EDITING AND SUBMISSION

Vista is an open access academic journal following demanding peer-review standards, based on a double-blind review process. After submission, the papers will be forwarded to two reviewers, previously invited to evaluate them according to their academic quality, originality and relevance to the journal’s objectives and scope.

Originals must be submitted through the journal’s website. If you are accessing Vista for the first time, you must register before submitting your article (instructions for registration here).

The guidelines for authors are available here.

For further information, please contact: vista@ics.uminho.pt

No payment from the authors will be required.