The Journal of Comparative Media Arts (CMA Journal) is an open-access, student-run peer-reviewed jou Each annual issue is focused by an aesthetic theme.
The Comparative Media Arts Journal (CMA Journal) is an open-access, peer-reviewed graduate journal of lively inquiry into visual culture, cinema studies, performance studies, and new media arts, encouraging intermedial and comparative approaches. Current graduate students, postdoctoral students, and recent graduates are invited to submit work for publication to CMA Journal. We welcome submissions
of scholarly research and essays, exhibition and book reviews, experimental and creative writing, and documentation of artworks in progress. Promoting open-minded thinking the CMA Journal aims to generate a fruitful environment for critical, historical, and theoretical analysis across arts forms and practice. Each annual volume currently comprises two thematic issues that pursue new directions and respond to new developments from a broad range of studies. We welcome experimental and creative writing, works-in-progress, collaborations and lively debates that are critically engaged in the ever-shifting range and scope of the fields of critical and cultural studies. The CMA Journal is part of the School for the Contemporary Arts at Simon Fraser University. www.sfu.ca/sca.com.
Extended Deadline! November 1!
Michel Foucault writes in Les Hétérotopies that the present epoch might be understood as “the epoch of space,” or rather, the epoch of simultaneity (Dehaene & de Cauter 2008, p. 14). “We are in the epoch of simultaneity; we are in the epoch of juxtaposition, the epoch of the near and the f...
The Comparative Media Arts Journal
Issue Nine: Relations
Edited by Wei-hsin Lee, Israt Taslim, and Mohammad Zaki Rezwan
Now online: https://www.sfu.ca/cmajournal/issues/issue-nine--relations.html
Featuring contributions from Jasmine Yu-Hsing Chen, Grayson Chong, Sanja Dejanovic, Rebecca Howard, Dr. Elizabeth Johnson & Dr. Donald Culverson, Alla Myzelev, Ijeoma D. Odoh, and Maj Ørskov & Mikkel N. Jørgensen.
Relations exist in both affinity and disparity. They soften and solidify; destruct and reconcile. They emerge from succession, or perhaps even isolation. They are catalysts of becoming – a process that defines the territory of our being, yet transcends it over time. The contemplation of these relations may reveal the tenuous nature of our social, cultural, and political construction, but this practice also deepens our understanding of what is possible through connection.
Relations exist in both affinity and disparity. They soften and solidify; destruct and reconcile. They emerge from succession, or perhaps even isolation. They are catalysts of becoming – a process that defines the territory of our being, yet transcends it over time.
Comparative Media Arts Journal is launching a call for submissions for our forthcoming Issue 10: Enchantment, Disenchantment, Reenchantment.
Since Max Weber described the state of the world as disenchanted in 1919, twentieth century critics from the Frankfurt School to the Postmodern philosophers shared the opinion that modern acceleration brings human suffering. Contemporary scholarship (Foster 2015; Berardi 2017; Steryerl 2017) periodi...
We are excited to launch our latest issue on Comparative Media Arts Journal, Issue 8 | Invisibility (escaping notice).
"This issue does not attempt to speak for any person or thing, nor does it seek to reveal what remains hidden. Rather, it aims to instigate a dialogue where there often is none - a dialogue between diverse paradigms of truth that dismantles the fixed opposition between the witnessed and perceived."
This issue was fearlessly co-edited by Faune Ybarra, Allison Mander-Winozek, and C. Olivia Valenza, with contributions by K. Naarayana Chandran, Joni Cheung, Colin Frank, Andrea Liu, Madison Mayhew, Paul Reynolds, and Andrew Testa.
We listed our deadline for this issue’s call-for-work on February the 29th of 2020, because only the leap year offers a date that operates as a silent pace-keeper for what we have come to accept as time. We, the co-editors of Issue 8: Invisibility (escaping notice) observed this as an opportunit...
Faune Ybarra, a bright thinker and beautiful artist, and a member of our editorial team, is featured in Akimbo.
Faune Ybarra is a diasporic artist originally from Oaxaca and Mexico City, Mexico. Due to the experiences of constantly moving and adapting, she has conceived of her body as a site of translation from where she attempts to communicate with other people and the non-human. Focusing on questioning the....
Comparative Media Arts Journal
Call for Papers / Works
ISSUE NINE: Relations
Relations exist in both affinity and disparity. They soften and solidify; destruct and reconcile. They emerge from succession, or perhaps even isolation. They are catalysts of becoming – a process that defines the territory of our being, yet transcends it over time.
This issue invites thoughts driven by relational thinking.
Find out more: http://www.sfu.ca/cmajournal/issues/issue-nine--relations.html
Friends, please 'Like' our main page: SFU School for the Contemporary Arts. We'll be updating that one with all the latest SCA news and info – plus more!
Issue 7 | Responding to Site Specificity is now Live! Link to view contributions from Lea Hogan and Jennifer Anderson, Carrie Allison with Lea Hogan, Warren Enström, Robert Motum, Logan Williams, and Joey Zaurrini.
https://www.sfu.ca/cmajournal/issues/issue-seven--responding-to-site-specificity.html
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We began work on our seventh issue, Responding to Site Specificity, prior the occupation of the RCMP at the Unist’ot’en Camp. The weeks of mounting protest in BC and across the country has shown us that the question of site extends beyond institutional critique of the gallery or museum and demonstrates the urgent importance of acting as a witness to the land itself.
We release Issue 7 in solidarity with the Land Defenders of the Wet’suwet’en Nation, and in support of the blockades in British Columbia and across Canada to prevent the unlawful occupation of the RCMP and CGL on unceded territory. We recognize the strong work of our contributors to this issue, who remind us of the inextricable relationship between our bodies and space, and our lives and the land.
This issue was edited by Lea Hogan and Jennifer Anderson, with editorial support from Mohammed Zaki Rezwan, Mallory Gemmel, Israt Taslim, Wei Hsin Lee, Faune Ybarra, Olivia Valenza, and Yani Kong as Managing Editor. As always, we are grateful to our home at the SFU School for the Contemporary Arts, our web editor, Brady Cranfield Sca Apparition, and our Faculty Advisor, Dr. Laura Marks.
All eyes on Wet’suwet’en. All eyes on Unist’ot’en.
The works in this issue resist the urge to associate mediums with specific venues, to provide more opportunities for artists to seek out new sites for practice when traditional venues such as the theatre (both film and live), the concert hall, the museum or gallery reject their craft. Within these s...
Comparative Media Arts Journal invites scholarly and creative projects exploring the topic of Invisibility. Check out our latest Call for Work for our forthcoming Issue 8 | Invisibility!
Yani Kong's Critic Picks for Art News in the City of Class (War)
By Yani Kong It was not an easy year in Canada’s most expensive city. How is that for a truism to end the decade? More than ever, we find ourselves at an apex of city-wide class difference – foremost in a strange housing crisis where the endless production of lodging produces little to nothing f...
"Part performance art, part cabaret, part rambling monologue, my initial assessment was that I wished I had not paid a babysitter to be away from home for two hours of my life that can never be returned. "
By Yani Kong On a recent evening in November, Martin Creed played a solo performance of his touring one-man show Getting Changed at the Rennie Museum in Chinatown. With some exceptions, Vancouver is not a hotbed of international art, so when opportunities arise, I’m committed to taking them. In th...
Dearest Canadians, Vote today with your hearts.
By Yani Kong The still growing press around Lisa Jackson’s new multimedia installation Transmissions frequently begins by referencing her last work, the immersive VR experience Biidaaban: First Light developed by Jackson with Mathew Borrett, Jam3 and the National Film Board of Canada. Unsurprising...
Call for Papers!
The SCA's Comparative Media Arts Journal is pleased to invite individuals to submit to an ongoing call for reviews.
Supplementary to CMAJ’s semi-annual themed issues, the review series is a continuous academic platform that asks scholars, artists, curators, writers, and post-secondary students of all levels to engage in critical contemplation and reviews of exhibitions, art events, and publications.
Find out more: http://www.sfu.ca/cmajournal/reviews.html
We joined SFU School for the Contemporary Arts in a Strike against Climate Change on Friday Septermber 27th, 2019. Here is a great video of our demonstration.
The Peak spoke to a few attendees of the Vancouver climate strike on September 27, 2019. Filmed and edited by Jack Chipman.
Have you checked out our CFP for forthcoming Issue 7 | Responding to Site Specificity? Call date is October 17th! DM with questions.
Issue 7 of the Comparative Media Arts Journal examines responses towards art engagement with land and space. Artworks, performances, music, sound art, and other mediums of art are often associated with the spaces designed to contain them, the theatre (Moving Image and Theatre), the concert hall, the...
Call for papers! CMA Journal Issue Seven: Responding to Site Specificity.
http://www.sfu.ca/cmajournal/issues/issue-seven--responding-to-site-specificity.html
Issue Six: Aesthetics of Heterogeneity is now live!
http://www.sfu.ca/cmajournal/issues/issue-six--aesthetics-of-heterogeneity.html
By Yani Kong What is a gesture? The term invokes a common understanding of the moving body as it demands attention. In an instance, I may gesture to you to come close or move away, or gesture towards an object or person to be seen. Perhaps I make an obscene gesture and this act would … Continued
Full call here: http://www.sfu.ca/cmajournal/issues/issue-six--aesthetics-of-heterogeneity.html
Open call for essays for ISSUE SIX: AESTHETICS OF HETEROGENEITY. Deadline is January 31, 2019.
Globalization has brought the world together by creating a new scope for sharing commonalities. But human history has always witnessed conflicts among global communities due to differences. An array of global conflicts has been creating numerous events of diaspora for the last few centuries. Not onl...
Issue FIVE of the SCA's Comparative Media Arts Journal (CMA Journal), an open-access, peer-reviewed graduate journal organized and produced by MA candidates in the SCA's MA: Comparative Media Arts program, is now online. Read it here: http://www.sfu.ca/cmajournal/issues/ISSUE-FIVE--AFFECTIVE-FRAMING--CINEMATIC-EXPERIENCE-AND-EXHIBITION-DESIGN.html
Our current CFP is up! Consider submitting. Deadline too soon? Send us a message, we can work it out. http://www.sfu.ca/cmajournal/issues/issue-five--exhibition-design-influenced-by-cinema.html
The medium of cinema works through an unfolding process of perception. As a spectator of cinema, one is drawn into a dimensional world, where the experience of spectacle, narrative, and semiosis work together to percolate a film’s interest, context, and purpose. Cinema is affective, engaging, and...
Announcing the fourth issue of the SCA's Comparative Media Arts Journal on the theme of Slowness, with contributions from Antonio D'Amato, Marina DiMaio, Justine Kohleal, Yani Kong, Minah Lee, Michelle Martin, Ian McFarlane, and Phoebe Todd Parrish. Check it out here now: http://www.sfu.ca/cmajourn…/issues/issue-four--slowness.html. Please don't miss the call for papers for the next issue on the theme of Exhibition Design Influenced by Cinema. Full info at our website: http://www.sfu.ca/cmajournal.html
Call for Papers
Issue Five: Exhibition Design Influenced by Cinema
The medium of cinema works through an unfolding process of perception. As a spectator of cinema, one is drawn into a dimensional world, where the experience of spectacle, narrative, and semiosis work together to percolate a film’s interest, context, and purpose. Cinema is affective, engaging, and critically contemplative. Through dynamic relations between the movement and colour of images, ambient, immersive, and musical sound, cultural and human perspective, cinema creates an altered experience of reality. This encourages individuals to reflect, through embodied and cognitive instances, on the fluctuating conditions of the world and human experience.
Cinema, since its invention, has given visibility to endless objects, circumstances, and concepts including those that may have once remained unseen, unspoken, or unthought. Cinema shapes the human perception of time and space, therefore creating attitudes about history and the future. Consequently, it is a medium that allows for ideas to unfold in an engaging and ruminative way.
Like cinema, art objects produce affect and contemplation in audiences through aesthetics, context, and meaning. Increasing examples of contemporary visual art exhibitions include moving-image. Despite cinematic influence across various art forms, the practice of visual art curation remains linked to traditional theoretical practices. A common exhibition design which is derived from historical and modernist eras is seen utilized by numerous contemporary art institutions today. It is a design that uses neutral space, places artworks singularly among this space, and presents knowledge about the artworks through text and dialogue. Moving-images in white-walled galleries take the shape of objects, replacing or accompanying more traditional media, such as painting, sculpture, and photography, causing moving-image to lose some of its immersive power. Above all, the design asks viewers to perform a laborious task– requiring exhibitions and artworks to be read as if they were essays, provoking the exhibition experience to be informative and functional, rather than emotive and experiential. This sort of encounter with exhibitions has been historically productive but by thinking through a medium that works towards and succeeds at affecting plural audiences, exhibitions and art practice can communicate with viewers through feeling prior to dialogue. Ultimately, this allows for more perspectives, meanings, and possibilities to manifest in the rhetoric and projects of the art-world.
This special edition mini-issue of the CMA Journal invites writers, reviewers, practitioners, and scholars from the fields of visual art, film, media history, as well as critical and cultural studies to contemplate how the perceptual process of cinema or other media can inform an altered form of curation in contemporary white-cube gallery space.
Subjects may explore but are not limited to the following questions:
How can typical exhibition design be rethought to include aesthetic and theoretical elements that work to unfold encounters with art that are both affective and contemplative of artistic context?
What are the ways that curatorial practice can exercise efforts to perceptually draw spectators into contemplation of art through means other than text-based context?
How is the common exhibition design limiting for diverse public audiences? Does this common exhibition and white cube design sustain a certain perception of art?
In what ways does the structure and business of the art world make it more challenging to proceed with new types of curatorial exercise within contemporary exhibition space?
How can exhibition design better reflect the complexity of contemporary practices that are often intermedial and multifarious?
How can affect, embodiment, and sensation lead to a stronger creation of knowledge?
We invite contributions including:
Scholarly Papers addressing curatorial research in relation to embodiment, immersivity, and contemporary media Curatorial Projects
Exhibition Reviews and Critiques Book Reviews
Exhibition Descriptions
Submission Process:
Submissions should be no less than 500 words and no more than 5000 words. All submissions should follow a Chicago Style in-text format.
Submissions are welcomed until October 20th 12:00 a.m. PDT. Projects submitted after this time will not be considered for review.
Please refer to the CMA Journal submission guidelines.
NOTE: Submissions to this mini-issue do not need to be filled via the online form.
Projects should be submitted via email directly to [email protected] with the subject: ATTN: Mini Issue #1
Ivakhiv, Adrian. “Ecology, Morphology, Semiosis.” Ecologies of the Moving Image: Cinema, Affect, Nature. Waterloo: Wilfrid Laurier University Press, 2013, 34-67. Project Muse.
http://www.sfu.ca/cmajournal/issues/issue-five--exhibition-design-influenced-by-cinema.html
Oana Avasilichioaei: Audain Visual Artist in Residence // 14 – 28 January 2018
The SCA is looking for a tenure-track Associate Professor in film production, to start Fall 2018. Could this be you? Download the job description (with info about the application process) here:
www.sfu.ca/sca/global/pdf/SCA_TENURE-TRACK_ASSOCIATE_PROFESSOR_IN_FILM_PRODUCTION_Dec_2018.pdf
School For The Contemporary Arts At Simon Fraser University, Goldcorp Centre For The Arts, 149 West Hastings Street
Vancouver, BC
V6B1H4
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The Comparative Media Arts Journal (CMA Journal) is an open-access, peer-reviewed graduate journal of lively inquiry into visual culture, cinema studies, performance studies, and new media arts, encouraging intermedial and comparative approaches. Promoting open-minded thinking, the CMA Journal aims to generate critical, historical, and theoretical analysis across arts forms and practice. Each issue is focused by an aesthetic theme. Current graduate students, postdoctoral students, and recent graduates are invited to submit work for publication to CMA Journal. We welcome submissions of scholarly research and essays, exhibition and book reviews, experimental and creative writing, and documentation of artworks in progress. The CMA Journal is part of the scholarly community at School for the Contemporary Arts at Simon Fraser University. www.sfu.ca/sca.com.
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