Call for Abstracts (for Publication): "Visual Narratives, Aesthetics, and Decoloniality: Imagery and the Construction of the Other"

Mappæmundi is pleased to announce a call for papers for a collective publication on 

"Visual Narratives, Aesthetics, and Decoloniality: Imagery and the Construction of the Other"

Please find all the details below.

We invite contribution proposals for the edited volume Visual Narratives, Aesthetics, and Decoloniality: Imagery and the Construction of the Other. The book aims to critically examine the persistent influence of colonialism in shaping modern subjectivities, tracing its historical roots in the formation of Western modernity and interrogating its continued implications in contemporary contexts. It positions media and visual narratives as central discursive spaces where colonial legacies are both perpetuated and, potentially, contested. This volume conceptualizes and critically interrogates aesthetics as a foundational condition that establishes a visual lexicon integral to Western modernity. The aesthetic framework not only shapes the development of visual narratives but also plays a crucial role in the construction and perpetuation of varied subjectivities.

In particular, we focus on the critical analysis of the role of visual narratives within the framework of epistemological colonialism. Visual narratives have been central in defining, reinforcing, and legitimizing colonial ideologies by shaping perceptions and controlling representations of colonized peoples and cultures. These visual narratives have played a fundamental role in constructing colonial time and space, which were systematically controlled by Western epistemologies. This volume positions itself as a counterpoint to this colonial legacy, offering critical perspectives that challenge and re/deconstruct the visual lexicon of Western modernity. Through this lens, the book seeks to uncover pathways for alternative visual expressions that resist colonial frameworks and promote inclusive, decolonized understandings of identity and, more broadly, cultural production.

The arts, the media, and communication are powerful forces that can either perpetuate or challenge colonial legacies. Addressing and dismantling these legacies is essential for the creation of just, inclusive, and equitable societies - i.e., societies that value, embrace and benefit from the diversity of reason. From a decolonial lens, the book seeks not only to question the validity of established forms of knowledge but also to question the very criteria by which knowledge is defined. The objective is to contribute to critical discourses on potential pathways forward by amplifying cultural voices marginalized within the colonial matrix of power.  To this aim, we invite contributions that engage with scholarship in diaspora studies, subaltern and postcolonial studies, critical race studies, decolonial aesthetics, visual culture, and visual practices, with a particular emphasis on non-hegemonic epistemologies.

When bringing together these critical issues and perspectives, the book shall offer a comprehensive and interconnected framework for understanding postcolonial experiences in the 21st century. It will explore the role of aesthetics in shaping modern subjectivities, tracing the roots of domination in multiple paths toward modernity. This book intends to serve as an essential resource for scholars, researchers, activists, and the general public, encouraging deeper engagement with colonial histories that continue to shape contemporary life.

We especially encourage contributions from scholars, artists, and practitioners from the Global South that:

• Engage in theoretical discussions on aesthetics and visual narratives from a decolonial perspective.
• Combine theoretical frameworks with analyses that directly engage with visual arts, such as photography and other forms of artistic expression.
• Discuss case studies that examine individual works of art, archives, photojournalistic projects, or other forms of visual narratives.
• Explore media as a space for resisting and challenging colonial legacies.
• Offer comprehensive analyses of how media and art contribute to the perpetuation or disruption of colonial ideologies.
• Provide practical strategies and share lived experiences that contest colonial-rooted narratives.
• Critique prevailing ideologies within the discursive spaces of media and art production and consumption.

Submission Details

The volume Visual Narratives, Aesthetics, and Decoloniality: Imagery and the Construction of the Other will be part of the Mappæmundi series published by Ventura Edizioni. It will be edited by Dr. Tomás Cajueiro (Universitat Autònoma de Barcelona) and Dr. Estevão Bosco (American College of the Mediterranean and the Latin American Social Science Faculty). The final publication will be exclusively in English. However, abstracts may be submitted in Portuguese, English, Spanish, or Italian. Once a proposal is accepted, authors will be responsible for translating their final chapters into English. Chapters should range from 20,000 to 40,000 characters, including spaces, and must incorporate visual materials to support the analysis of visual works. 

Proposals must be submitted to tomaskju AT gmail.com by April 4, 2025.

Theoretical and Textual Articles

Chapters may integrate theoretical insights with practical interventions or focus solely on theoretical exploration. Contributions can draw on real experiences from individuals, communities, and organizations. Potential research methods include literature reviews, case studies, comparative analyses, discourse analyses, and analyses of photographs and visual works. Abstracts should have a maximum of 5,000 characters, including references. Chapters should fall between 35,000 and 40,000 characters.

Visual narratives

For contributions focusing on the analysis of visual content, the textual component must range from 10,000 to 15,000 characters. The abstract, while limited to a maximum of 5.000 words, should also include an overview of the visual material being analyzed.

Important Dates 

Abstract Submission Deadline: April 4, 2025
Notification of Proposal Acceptance: May 11, 2025
Full Chapter Submission Deadline: September 11, 2025 
For more info: tomaskju AT gmail.com
--
Departamento de Filosofia, Comunicação e Informação
Faculdade de Letras da Universidade de Coimbra
3004-530 Coimbra, Portugal ... (and my source).

studium and punctum c/o Rose (2012)

'Care' as a Photograph - duality . . .

Visual Methodologies

"It is as if the Photograph always carries its referent with itself, both affected by the same amorous or funereal immobility, at the very heart of the moving world; they are glued together, limb by limb, like the condemned man and the corpse in certain tortures." [Barthes 1982: 5-6] p.121.

 "The referent is there in photographic images in ways it is not in other sorts of visual imagery, Barthes argues. And a result, he suggests that photographs can be interpreted in two ways. First, there is a level of the studium, which is a culturally informed reading of the image, one that interprets the signs of the photographs. But he says that some photographs produce a different response, which is a second kind of reading, by containing what he called a punctum. A punctum is unintentional and ungeneralisable; it is a sensitive point in an image which pricks, bruises, disturbs a particular viewer out of their usual viewing habits. And he went so far as to suggest that 'while the studium is ultimately always coded, the punctum is not [Barthes 1982: 51]. That is, there are points in some photographs that escape signifiers and shock the viewer with their 'intractable reality' [Barthes 1982: 119]. And while shock is something that most adverts aim to achieve, it is the case that recent advertising is relying more and more, not only on the transfer of meaning between signs, but on the evocation of a feeling or a mood attached to a brand that is difficult to analyse using semiological terminology." p.122.

On twitter* @h2cm over the years I've noted a certain stance, an aversion even, to generalist approaches in nursing (as suggested apparently by Hodges' model). The simplicity of Hodges' model in its template (basic) form belies how the model can address both generalist and specialist practice and theory. Bluntly: choose your domain; slice, dice and drill as you wish. 

Rose's reference to Barthes, in-particular studium and punctum stands out. We can equate the former with the situation as found, the clues provided in the referral details, the initial cues, data and information gleaned upon assessment. What might be expected, so to speak, including assumptions. 

But the punctum, may be described - interpreted in person-centred (yet professionally balanced) terms. Especially in assessment, planning, intervention and evaluation. The punctum signifies salience: what is important to this person. If the academic emphasis is upon ‘reflection in action’, ‘reflection on action’, ‘single loop learning’ and ‘double loop learning’ (Schön, 1987), can the punctum represent empathy, rapport, the sustenance of dignity and respect, an individual's sense-making? 

Our photograph, taken through Hodges' model is comprised of four frames. The photograph is  compound, and with several exposures it can be animated.^ When played, it reveals a hint, a fraction, an interval in an individual's (potential) health career. A light upon the several-fold determinants of health and their influence and impact upon life chances experienced and exercised to date - and to follow (climate change). 
 

Rose, G. (2012). Visual Methodologies: An Introduction to Researching with Visual Materials (3rd ed.). London: Sage. PB. [Now in 5th edition.] Image - Amazon.

Schön , D. (1987). Educating the reflective practitioner. San Francisco, CA: Jossy Bass. 

*Yes, I know.

^The Producer - Director depends on your Spiritual stance.

Rose (2012) now with student nurses [on placement from Chester University].

Seeds in 'architecture' iii

Prof. Younés describes 'three essential dualities': 

• IMAGE and WORD 
• TYPE and MODEL
• IMITATION and INVENTION

IMAGE and WORD 

Nursing has its historical images, that are continually presented, the lamp, hands imbued with care and support and others. The attraction to Hodges' model was through its similarity to mind-mapping, but with offering an foundational structure for reflection and critique (learning). So image has been there from the start.

Younés writes: "Within the dialectic of the visible (objects apprehended by the senses) and the invisible (ideas or forms apprehended by the mind), the image acts as a symbol when it supports the visibility of an idea." ... "Forms can be seen as structural potentials ..." p.238.

Younés classifies images (p.241), or the artistically factual through three divisions:

1. visual images (that would include icons and interface features)
   
2. mental images
3. verbal images (including metaphors and descriptions).
   

 "... the mind constructs a world within a world, and then reflects upon its own activity, as well as its own aesthetic appreciation of such activity."

I must stress the Younés context is architecture (and philosophy), but here extending to meaning I'm reminded of the way Hodges' model can span the arts and sciences, and original influences on why this model stood out for me through its facility for mind-mapping.

TYPE and MODEL 

 Here (p.242) Younés returns, not just to the origin, but the concept of origin through Form, the word and the type. Searching for universally shared purposes, within the permanences of human experience  this is health and social care too.

Taking in data, information, knowledge from assessment and other activities, this is usually contextualised - associated with a care domain. A return to the origin (nexus) of Hodges' model, the center is vital to retain balance and provide assurance in what we are doing, or not, and why.

"The architect imitates things as they have essential significance, but he or she does not copy any particular thing. This enables the layered transformation of natural models, without which the column would have always remained a tree. The form of the imitation is always different from that of the model. The roof is different from the forest's canopy. It is here that the pleasure of invention and the evaluation of the new enter, for it is within the recognized distance between the forest's canopy and the roof, that much of art occurs." p.244.

How times change in two decades. So many seek a roof, with architects having a recognized role in providing solutions post-natural disaster and political displacement of people. Not just homelessness, but homes that can cope, adjust to climate change. COVID has reminded us of the rejuvenating properties of nature, of the forest canopy, even that afforded by city centre gardens. 

We now see a roof not merely in physical terms, but social. As the night skies brighten we try to secure the canopy of the stars.

IMITATION and INVENTION 

Have we forgotten the contribution of positive role-models in learning? Imitation is the sincerest form of flattery and this throws up the constant educational dilemma of the theory - practice gap. Should we be exposed to practice without the guiding mentor represented in theory - that is also evidence-based?

There is an interesting exploration of SCOPE, DISCOURSE and NATURE: On Scope

"Thus a theory that is systemic aims at a certain level of completeness for it establishes the internal organization of architecture as a discipline, and it explains its external relations to other arts, to techniques, to social factors. Put differently, the interior individual realm concerns the intellectual freedom, the inner reflection of the architect-maker. The exterior individual pertains to the thoughts resulting from one architect reflecting upon another architect's work, as well as the individual architect's reflections on the suitability of her or his building to a context. The interior collective bears upon the conscious or unconscious content of culture which thrive within the images of of operative myths that inform architectural production. The exterior collective designates that commonly built sense regarding the suitability of architecture (decorum) within its milieu par excellence: the city. The above concerns the scope of an architectural theoretical system, on the urban, architectural, aesthetic, social, and practical levels." p.245-246.

INDIVIDUAL

|

 INTERPERSONAL    :     SCIENCES               

HUMANISTIC --------------------------------------  MECHANISTIC      

SOCIOLOGY  :   POLITICAL 

|

GROUP

interior individual	exterior individual
interior collective	exterior collective

 

I started these three posts noting the addition of 'architecture' to titles, concepts, and 'stretching' disciplines. Also guilty here; in mitigation, I'm aware of how in the mid-late 1970s technical drawing as taught was to change radically in the digital wave.

Hodges' model provides a drawing board, with analogue and digital potential.

I will continue to draw upon the (inspirational) discipline of architecture, it informs and sustains thought, construction, meanings, language use, and effort here.

There is much more to glean from this paper, so I hope to revisit it in the future - with further annotations on my copy.

Over the years I have noted related items in the press (yes, I saved the following):

Designs for life: architecture in the disaster zone, FT Weekend.

and read - A Bed for the Night: Humanitarianism in Crisis

By David Rieff

See also: 

Seeds in 'architecture' i 

Seeds in 'architecture' ii

Younés, Samir. “Constructing Architectural Theory.” Philosophy 78, no. 304 (2003): 233–53. http://www.jstor.org/stable/3752046.

Psychopathology and the ‘Scaling Up’ Problem

This conference will focus upon the 'scaling up' problem in the context of psychopathology. More precisely, it will focus upon the extent to which phenomenological and enactive accounts of psychopathology are, or must be, 'representation hungry'. Whilst explicitly anti-cognitivist phenomenological and enactive accounts of psychopathology are present in the literature, very little work has been carried out on discerning the extent to which they require the positing of representation. This is somewhat surprising, because 'representation hungry' cognition (thought, imagery, hallucination) plays a prominent role in most psychopathologies.

During the conference, we aim to consider questions like: is it possible to provide non-representational accounts of psychopathology?; if so, is it desirable?; if not, does this damage the prospects of phenomenological and enactive explanations of psychopathology?; does the representational status (or lack thereof) of a given account have important ramifications for clinical theorising and practice?; and, more generally, is the concept “representation” helpful, harmful, or irrelevant to understanding psychopathology?.

In short, whilst anti-cognitivist accounts of psychopathology have been provided by phenomenologists and enactivists, very little has been said about the 'scaling up' problem with regards to them. The aim of the conference is to fill this gap.

The conference will be held via the Zoom platform on Monday the 5th, Tuesday the 6th, and Wednesday the 7th of October, from 15.00 to 17.30 CET.

Organization
Adrian Downey & Tobias Schlicht
Institute of Philosophy II
Ruhr-Universität Bochum

Contact: a dot downey at sussex dot ac dot uk 

My source:

Philos-L "The Liverpool List" is run by the Department of Philosophy, University of Liverpool https://www.liverpool.ac.uk/philosophy/philos-l/ Messages to the list are archived at http://listserv.liv.ac.uk/archives/philos-l.html. Recent posts can also be read in a Facebook group: https://www.facebook.com/PhilosL/ Follow the list on Twitter @PhilosL. Follow the Department of Philosophy @LiverpoolPhilos