The panel is part of the 6th Euroacademia International Conference ‘Identities and Identifications: Politicized Uses of Collective  Identities’
22 – 23 June 2017, Florence, Italy

Deadline: 10th of May 2017

Panel Organizer: Daniela Chalániová (Anglo-American University, Prague)

Panel Description:
Ever since the so called ‘linguistic turn’ in the 1970s, majority of research on identity in political and social sciences has been focused on language and text – as language has been considered the primary  tool for meaning formation, and ideas exchange. Today, we are twenty  years from a digital revolution of the 1990s, which on the one hand,  made communication faster, more efficient and more global, on the  other hand made the linguistic exchange just one of many  possibilities. While arguably some visual elements such as symbols and  flags have been recognized as important for collective identification,  the impact of journalist, fashion and travel photography, films, comic  books and documentaries, billboards and brands, sports and arts has  largely been neglected by mainstream political science scholars, who  viewed images as something rather suspicious. However, with increasing  interest in the visual/aesthetic aspects of political and social life  (the so called ‘visual/aesthetic turn’ of the late 1990s) it is only  logical to take a hard look at identity beyond language, that is, from  an interdisciplinary visual perspective.

Images, just like words, are able to communicate norms, meanings and values, they polarize as well as unite communities, identify who is ‘in’ and who is ‘out’. Images communicate meanings through logic of association, rather than logic of argumentation as texts often do, appealing to our emotional rather than logical cognition. Images trigger the unconscious processes of stereotyping and value judgments associated with them, effectively constructing affiliation or differentiation, a Self and the Other, with behavioural consequences. Therefore, analysis of visual material in connection to identity  should occupy a more prominent place among identity scholars.  Political and social science, however, lacks in tools of visual  analysis, therefore it needs to broaden its scope into other  disciplines such as communication studies, artsand history, cultural  studies, media studies, theatre, iconography, semiotics, marketing and  advertising, public relations, fashion, photography, cinematography,  etc.

Thus, this panel aims at a more inclusive interdisciplinary approach  to identity building, especially in terms of the empirical scope. The  goal is to collect empirical as well as theoretical and methodological papers on political and social identity, focused on visual aspects of identity construction.

Suggested topics may include/but are not limited to these:
~ Role of images in multilingual collectivities’ identity construction
~ Role of images in multicultural/multinational collectivities’ identity construction
~ Role of sports as visual performance in identity narratives
~ Emotional appeal of images, symbols and representations
~ American presidential election and the public ‘image’ of the candidates
~ Presidential election and the public ‘image’ of the candidates
~ Constructing the democrats/the republicans in the media
~ Political branding and electoral campaigns
~ Media campaigns of the European Parliament
~ Statues and monuments of national identity
~ Treatment of minorities in films – visualizing the Other
~ National cinema and national identity
~ Images of patriotism
~ Fashion statement as a declaration of belonging
~ Folk costumes and clothing in contemporary national identity narratives
~ Visualizing the gender

While the papers suggested here approach identity from a social-constructivist perspective, other approaches and criticisms are welcome.

If interested in participating, please read the complete event details on the conference website and apply on-line. Alternatively you can  send a maximum 300 words abstract together with the details of your affiliation until 10th of May 2017 by e-mail at  application@euroacademia.eu

For full details of the conference and on-line application please see:
http://euroacademia.eu/conference/6th-conference-identities-and-identifications/

Following from the influential work of Pierre Bourdieu, cultural intermediaries (CIs) have been typically analysed within cultural studies and sociology (Smith-Maguire and Matthews 2013; Nixon and du Gay 2002; O’Connor 2015) as significant mediators of culture, shaping cultural forms and identities; for example, in fashion (Blumer 1969; Braham 1997; Entwistle 2006; Fine and Leopold 1993), music (Hesmondhalgh 2007), food (Bob, et.al<http://et.al>. 2013) masculinity within popular culture (Nixon 1996, 2003). This early cultural intermediaries literature was important in establishing a more complex and dynamic relationship between production and consumption by examining the work of influential ‘taste-makers’ located within key professional spaces and institutions (publishing, fashion industry, etc.). However, in the digital age, today’s CIs also include fashion bloggers and vloggers, Youtubers (Rocamora, forthcoming, 2017), music and food bloggers, and so on, who are examples of new forms of labour, as well as practices where cultural value is generated and circulated across digital spaces. Further, ideas about the ‘prosumer’ and ‘prosumption’ challenge the uni-directional view of flows of influence: consumers are emerging as ‘experts’ of the flows they are consuming (Baym and Burnett 2009), as well as ‘cultural mediators’ or ‘intermediaries’ (Arriagada 2014; Entwistle 2009; Bourdieu 1984; Rocamora 2011; 2016), bringing ‘a range of cultural things to markets: goods, images, tastes, aesthetics’ (Entwistle 2009: 15). In addition, science and technology studies (STS) and actor-network-theory (ANT) have challenged ideas about mediation to include non-human actors within these networks and flows of goods.

In this Symposium we will explore how much of the early cultural intermediaries literature within cultural studies (emerging from the late 1980s-1990s) and across a range of industries (fashion, music, popular media/magazines, for example) is relevant to today’s cultural forms in the digital age. Specifically, the aim of the symposium is to gather experts on cultural industries to discuss and analyse how consumers’ practices performed in digital spaces (e.g. blog, social media, and websites) are facilitating the emergency of new cultural and economic forms in this industry. It will be cross- disciplinary and cross-sector, seeking also to examine the differences, synergies and similarities across key cultural industries (for example, fashion, music, print/publishing, film, food, gaming).

We invite participants to send abstracts that explore the practices, identities, and discourses of cultural mediators in the digital age from a broad range of disciplines – including sociology, media studies, geography, anthropology, cultural studies, STS. Questions and topics include but are not limited to:

-How do CIs create meaning and valorise cultural products in the digital age?
-How do their practices vary across industries (e.g. music, media, fashion, design, and food) in the digital age?
-What role do digital technologies (particularly social media) play in the practices of CIs?
-What forms of labour are emerging from consumers’ social media practices of mediation around goods and flows produced in the cultural industry?
-How are the off- and online practices of CIs regulated, and by whom?
-What type (s) of value (s) (e.g. economic, symbolic) are consumers producing through their online practices of mediation?
-What kind of knowledge do consumers produce and circulate through social media in relation to flows and goods produced in the cultural industry?
-Theoretically, what kind of sociological, cultural, and economic concepts and theories serve to understand online practices of mediation in relation to flows and goods produced in the cultural industry?

Please send abstracts (350 words) with a short bio (100 words) by May the 3rd to:
symposiumcmda@gmail.com <mailto:symposiumcmda@gmail.com>

The abstract should include theoretical and methodological discussions and have to be submitted and presented in English. Please include relevant biographical information as well. On submission of the proposal, only the proposing author will receive an email confirming receipt.

The Symposium organising committee will assess all proposals and communicate results by May the 29th.
The program will be available by June the 22nd.
Participation in the Symposium will cost £50 and £30 (students).

This Symposium is organised by the School of Communications at University Adolfo Ibanez, the Culture, Media and Creative Industries Department at King’s College, and the London College of Fashion, University of the Arts London.

In this special issue of Critical Arts we aim to explore participatory art practices that specifically engage with technology and digital media. There has been a growing body of art that focuses on social practices, networks and processes as constituting the artwork itself. This implies that the events that facilitate social interaction and cultural encounter are variously seen as the actual art practice (Siegenthaler 2013). However, because contemporary media culture is characterized by participation, interaction, immersion and collaboration, art practices are challenged to move beyond a “mere” adoption of new technologies. There is a need to explore how technologies are also changing our experience of place, conceptions of intimacy, co-presence and interaction, and to generate new understandings of technological mediation as a feature of social relations (Beaulieu, 2010; Hjorth and Sharp 2014).

We invite papers from researchers, theorists and artists to engage critically with how technology, media and networks open up new avenues to develop practices that examine place and locality, community and communication, interaction and intimacy, proximity and distance, creation and co-creation. Papers can also focus more broadly on the impact of digital technologies on art today, for example by exploring the creative and participatory practices that are made possible by artists working with technology or by collaborations between artists, scientists and technological experts, focusing for example on robotics, virtual/ augmented reality, immersive media or game technology (Gardiner and Gere 2010, Gronlund 2016). Next to full research papers we also invite contributions that can serve as vignettes – short statements and reflections by artists about their practice.

*Submission guidelines*

– Deadline for abstracts: Please send your abstracts of 300 words by April 15th 2017 to Kris.Rutten@UGent.be <mailto:Kris.Rutten@UGent.be>.
– Notification of selected abstracts by: May 15th 2017.
– Deadline for article submission: based on the selection of the abstracts full papers will need to be submitted by: August 15th 2017.
– Information and instructions for authors: http://www.tandf.co.uk/journals/RCRC

All completed manuscripts MUST be uploaded onto the online manuscript portal Scholar One. Go to Critical Arts on the Taylor and Francis site. There is an option on the top left pane of the screen that says ‘submit’, select this then click ‘submit online’ and follow the prompts.

Further inquiries about the special issue: Kris.Rutten@UGent.be <mailto:Kris.Rutten@UGent.be>
Alternatively, contact the Critical Arts editorial office at criticalarts@ukzn.ac.za <mailto:criticalarts@ukzn.ac.za> or the editor-in-chief, Keyan Tomaselli at keyant@uj.ac.za <mailto:keyant@uj.ac.za>

Critical Arts prides itself in publishing original, readable, and theoretically cutting edge articles. For more information on the history and the orientation of the journal, as well as guidelines for authors, and legal and editorial procedures, please visit: http://www.tandf.co.uk/journals/authors/rcrcauth.asp Critical Arts is now published six times annually and is indexed in the International Bibliography of Social Sciences (IBSS) and the ISI Social Science Index and Arts & Humanities Citation Index and other indexes.

*References*

– Beaulieu, A. 2010. From co-location to co-presence: Shifts in the use of ethnography for the study of knowledge. Social Studies of Science 40(3): 453-470.
– Gardiner, H. and Gere, C. 2010. Art Practice in a Digital Culture. London: Routledge.
– Gronlund, D. 2016. Contemporary Art and Digital Culture. London: Taylor and Francis.
– Hjorth, L. and Sharp, K. 2014. The art of ethnography: the aesthetics or ethics of participation? Visual Studies 29(2): 128-135.
– Siegenthaler, F. 2013. Towards an ethnographic turn in contemporary art scholarship. Critical Arts. South-North Cultural and Media Studies, 27(6): 737-752.

Guest editor: Kris Rutten
Editorial consultant: Leora Farber

O Simpósio Internacional “Mulheres no Cinema Ibérico” (Women in Iberian Cinema) acontece no Centro de Estudos Comparatistas da Faculdade de Letras da Universidade de Lisboa, nos dias 11 e 12 de Setembro de 2017. Trata-se de um evento interdisciplinar organizado pelo projeto de investigação “O Cinema e o Mundo: Estudos sobre Espaço e Cinema”, do grupo THELEME. Os investigadores interessados em contribuir com trabalhos têm até 9 de junho. Os artigos podem se escritos em português, inglês e espanhol. 

O simpósio contribuirá para ampliar os debates sobre o lugar das mulheres nos cinemas de Portugal e Espanha, através de uma revisão da teoria feminista e pós-feminista, assim como de novos relatos da história do cinema. Visa também promover uma análise comparativa entre os cinemas ibéricos de todas as regiões, um tema quase inexplorado na academia, apesar das histórias semelhantes dos dois países, sobretudo no século XX.

Eixos temáticos

• Personagens femininas, temas e representações em contextos regionais, nacionais e / ou transnacionais específicos;
• Género (Gender/Genre) nos cinemas de Portugal e Espanha;
• O papel das mulheres na indústria cinematográfica, dos inícios ao cinema contemporâneo;
• Estudos de caso de mulheres diretoras, produtoras, roteiristas e outras funções;
• Estrelas femininas em Portugal e Espanha;
• Abordagens feministas e pós-feministas dos estudos sobre cinema em diferentes épocas;
• Mulheres e censura, propaganda ou política de maneira mais abrangente.

Mais informações no Call for papers (em inglês) em anexo e na página do Centro de Estudos Comparatistas da Universidade de Lisboa.

Over last two decades interactive communication has taken an increasingly central role in most journalism and communication processes. There is a demand for professionals who can design and lead on the implementation of scenarios in which users engage with information à la carte, becoming active communicators that generate content which feeds back to the system. Digital communication cannot be understood with a sound knowledge of concepts such as interactivity and participation, and of how these play a central role in it.
Interactive communication professionals are those who provide tools that allow users to, in a nutshell, communicate with each other and disseminate information through the net. But they are also responsible for the innovation in these communicative processes: Designing and implementing them successfully not only in the well established channels and contexts, but also in these which appear –and sometimes disappear- at a rate much higher rate than that to which the pre-digital professional was used to. These new channels and contexts will complement or expand existing ones, while others will end up replacing them entirely.

Digital media have allowed for a scenario where all these forms of communication are possible. The interactive communication professional becomes here a key specialist who can understand the potential of digital media and, in turn, become a creator or, at least, a facilitator of stories.

At the same time, media itself has radically changed, adapting at different rates –and with varying success—to the context in which concepts such as ubiquity, active user (as opposed to passive viewer) or user generated content have reshaped the landscape. It is a context where social media has gone from being a space for dialogue on ‘main’ media (second screen) to become the main context in which stories are accessed and disseminated, often replacing the media platforms themselves.

Given all this, and at a time when we the fundamental concepts around communication, media and journalism are being reshaped, we deemed appropriate to call for a debate on what we understand to be a central concept in the new digital paradigm that dominates the present: Interaction, understood from a broad stroke that includes many different perspective, as a key idea of the new relations among the communication agents.

Therefore, for the next issue of Hipertext.net we call for researchers, academics and practitioners to send their original research related to one of the following research topics, which are not exclusive:

. Interactive design and digital media: theoretical approaches, definitions and history
. Digital media and the digital ecosystem
. Learning interactive communication. A multidisciplinary effort
. Trending digital formats and media.
. Play strategies in digital media
. New interactive digital narratives
. Journalism, communication and social media
. Television as digital media
. Emergent formats in digital communication
. Art and experimentation in digital media
. Information customization and communication bubbles

Guest editor: Joan Soler-Adillon, Royal Holloway, University of London
http://raco.cat/index.php/Hipertext/
Deadline: June 20th, 2017

Peer review journal. Authors notified: September 20th, 2017

Author guidelines: http://raco.cat/index.php/Hipertext/about/submissions
Contact: Juan Linares, executive editor juan.linares@upf.edu <mailto:juan.linares@upf.edu>
Papers will be accepted in English, Spanish or Catalan

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[Español]

Llamada a artículos:
Medios digitales e interación. /Hipertext.net/, número, 15, 2017
Editor invitado: Joan Soler-Adillon, Royal Holloway, University of London
http://raco.cat/index.php/Hipertext/
Data límite de envío: 20 de junio 2017

Revisión por pares. Notificación de aceptación: 20 septiembre 2017

Pautas para autores: http://raco.cat/index.php/Hipertext/about/submissions

Contacto: Juan Linares, editor ejecutivo: juan.linares@upf.edu <mailto:juan.linares@upf.edu>

Se aceptan originales escritos en español, inglés o catalán

Presentación
En las dos últimas décadas la comunicación interactiva ha tomado un papel cada vez más central en la mayoría de procesos comunicativos y periodísticos. Las empresas reclaman profesionales capacitados para liderar, idear y diseñar escenarios en los que los usuarios se informan a la carta, se comunican con el medio o aportan contenidos y experiencias que retroalimentan todo el engranaje. La comunicación digital no puede desligarse de un conocimiento sólido de lo que representan conceptos como interactividad o participación, y de cómo estos se presentan en este tipo de contextos.
Los especialistas en interacción son profesionales que facilitan herramientas que permiten que los usuarios, simplemente, se comuniquen entre ellos y hagan transitar información por las redes sociales. Pero también son los responsables de innovar en estos procesos comunicativos: De diseñar y aplicarlos de manera acertada no sólo en aquellos canales ampliamente conocidos, sino también aquellos que aparecen –y a veces desaparecen- a un ritmo mucho más alto de lo que el profesional pre-digital estaba acostumbrado. Unos nuevos canales que tanto pueden expandir, como complementar, como a veces terminar sustituyendo los ya existentes.
Los medios digitales han posibilitado el asentamiento de un escenario donde todas estas formas de comunicación son posibles. El profesional de la comunicación interactiva se convierte aquí una pieza clave, un especialista capaz de comprender las potencialidades del medio digital y, al mismo tiempo, convertirse en un relator o, al menos, un facilitador de historias.
A su vez, los mismos medios han cambiado radicalmente, adaptándose con diferentes ritmos, y con más o menos acierto, al contexto digital donde conceptos como ubicuidad, el usuario como agente activo (en vez de mero receptor), o generación de contenidos han reconvertido el paisaje. Un contexto donde las redes sociales han pasado de ser un espacio de diálogo (segunda pantalla) a ser el escenario principal donde se difunden y se accede a las noticias, sustituyendo en muchas ocasiones la plataforma propia de los medios.
Ante todo esto, y en un momento de fuerte replanteamiento de los fundamentos de la comunicación y, particularmente, del periodismo, es adecuado plantear un debate en torno a un concepto que entendemos central en el nuevo paradigma digital que domina el presente: la interacción, entendida desde un punto de vista amplio que incluye miradas muy diversas, como eje vertebrador de las nuevas relaciones entre todos los actores de la comunicación.
Así pues, para el próximo número de Hipertext.net se propone a investigadores, académicos y profesionales el envío de trabajos de investigación originales relacionados con alguna de estas líneas de investigación, que no son exclusivas:
. El diseño de interacción y los medios digitales: aproximaciones teóricas, historia y definiciones
. Los medios digitales, el ecosistema digital
. Aprendizaje de comunicación interactiva. Una especialidad entre fronteras
. Formatos digitales y medios. tendencias
. Estrategias de juego en medios digitales
. Nuevas narrativas digitales interactivas
. Periodismo, comunicación y redes sociales
. La televisión como medio digital
. Formatos emergentes en comunicación digital
. Arte y experimentación en medios digitales
. Personalización de la información y burbujas comunicativas

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[Català]

Crida d’articles: Mitjans digitals i interacció. /Hipertext.net/, número, 15, 2017
Editor invitat: Joan Soler-Adillon, Royal Holloway, University of London
http://raco.cat/index.php/Hipertext/
Data límit d’enviament: 20 de juny 2017

Revisió per parells. Notificació d’acceptació: 20 setembre 2017

Pautes pels autors: http://raco.cat/index.php/Hipertext/about/submissions

Contacte: Juan Linares, editor ejecutiu: juan.linares@upf.edu <mailto:juan.linares@upf.edu>

Es poden presentar originals escrits en castellà, anglès o català
Presentació

En les dues últimes dècades la comunicació interactiva ha pres un paper cada vegada més central en la majoria de processos comunicatius i periodístics. Les empreses reclamen professionals capacitats per liderar, idear i dissenyar escenaris en els que els usuaris s’informen a la carta, es comuniquen amb el mitjà o aporten continguts i experiències que retroalimenten tot l’engranatge. La comunicació digital no pot deslligar-se d’un coneixement sòlid del que representen conceptes com interactivitat o participació, i de com aquests es presenten en aquesta mena de contextos.
Els especialistes en interacció són professionals que faciliten eines que permeten que els usuaris, simplement, es comuniquin entre ells i facin transitar informació per les xarxes socials. Però també són els responsables d’innovar en aquests processos comunicatius: De dissenyar i aplicar-los de manera encertada no només en aquells canals bastament coneguts, sinó també aquells que apareixen –i a vegades desapareixen— a un ritme molt més alt del que el professional pre-digital estava acostumat. Uns nous canals que tant poden expandir, com complementar, com a vegades acabar substituint els ja existents.
Els mitjans digitals han possibilitat l’assentament d’un escenari on totes aquestes formes de comunicació són possibles. El professional en comunicació interactiva esdevé aquí una peça clau, un especialista capaç de comprendre les potencialitats del mitjà digital i, alhora, esdevenir un relator o, almenys, facilitador d’històries.
Alhora, els mateixos mitjans han canviat radicalment, adaptant-se amb diferents ritmes, i amb més o menys encert, al context digital on conceptes com ubiqüitat, l’usuari entès com a agent actiu enlloc de mer receptor, o generació de continguts han reconvertit el paisatge. Un context on les xarxes socials han passat de ser un espai de diàleg (segona pantalla) a ser l’escenari principal on es difonen i s’accedeix a les notícies, substituint en moltes ocasions la plataforma pròpia dels mitjans.
Davant de tot això, i en un moment de fort replantejament dels fonaments de la comunicació i, particularment, del periodisme, és adient plantejar un debat al voltant d’allò que entenem central en el nou paradigma digital que domina el present: la interacció, entesa des d’un punt de vista ampli que inclou mirades molt diverses, com a eix vertebrador de les noves relacions entre tots els actors de la comunicació.
Així doncs, per al proper número de Hipertext.net es proposa a investigadors, acadèmics i professionals l’enviament de treballs d’investigació originals relacionats amb alguna d’aquestes línies de recerca, que no són exclusives:

. El disseny d’interacció i els mitjans digitals: aproximacions teòriques, història i definicions
. Els mitjans digitals, l’ecosistema digital
. Aprenentatge de comunicació interactiva. Una especialitat entre fronteres
. Formats digitals i mitjans. Tendències
. Estratègies de joc en mitjans digitals
. Noves narratives digitals interactives
. Periodisme, comunicació i xarxes socials
. La televisió com a mitjà digital
. Formats emergents en comunicació digital
. Art i experimentació en mitjans digitals
. Personalització de la informació i bombolles comunicatives

O desenvolvimento que os estudos narrativos conheceram, nos últimos anos, baseou-se em relevantes contributos teóricos, em propostas de trabalho analítico e em mutações epistemológicas e operatórias que recuperaram, para o centro da análise, uma categoria descuidada durante décadas: a personagem. Dentre aquelas mutações destacam-se as seguintes: i) a valorização de abordagens interdisciplinares, que vieram fecundar e aprofundar a teoria da narrativa, enquanto campo de reflexão autónomo, mas não isolado; ii) a afirmação do princípio da transnarratividade, como motivo de abertura para análises que incidem sobre práticas discursivas em princípio não narrativas, mas em que residual ou marcadamente é possível observar a dinâmica da narratividade e a presença de categorias (como é o ca! so da personagem) que lhe estão associadas.

A consolidação dos chamados estudos mediáticos constitui um desafio muito estimulante para o estudo da personagem. Naquele campo de trabalho, hoje legitimado pela presença na academia, assumem uma importância considerável práticas narrativas que, em diferentes suportes, linguagens e contextos comunicativos, procedem à figuração e à refiguração de personagens. Por isso, é possível falar hoje em estudos narrativos mediáticos.

Do ponto de vista social, político e cultural, os discursos dos media e a sua destacada e continuada presença no espaço público permitem que se fale na noção de personagem mediática; essa noção resulta, em grande parte, da anulação de fronteiras que anteriormente interditavam movimentos de passagem e de interação tão sedutores como, por vezes, problemáticos, nos planos discursivo, social e ontológico. As tensões entre o ficcional e o não-ficcional, entre o literário e o não-literário, entre o narrativo e o não-narrativo, entre a personagem e a pessoa comparecem, com frequência, na enunciação dos discursos mediáticos, na televisão, na imprensa convencional, no cinema, na imprensa digital, na rádio, nas redes sociais, etc.

O volume n.º 6 da Revista Mediapolis, com o tema Personagens mediáticas, abre lugar à discussão destes problemas e de outros que eles arrastam. Os contributos que ele há de suscitar poderão distribuir-se por três domínios específicos, eventualmente relacionados entre si:

· O domínio da teoria, incidindo sobre a noção de personagem e sobre as hipóteses da sua reformulação ou mesmo refundação, em contexto mediático.

· O domínio dos estudos de caso, permitindo a abordagem de situações concretas e, tanto quanto possível, exemplares, no respeitante à presença da personagem em discursos mediáticos. Evidenciam-se aqui os procedimentos de figuração, de refiguração e de sobrevida da personagem, em particular quando ela migra de relatos canónicos para narrativas mediáticas.

· O domínio da reflexão social, cultural, política e deontológica, potenciada pela entrada, na cena dos discursos mediáticos, de uma categoria narrativa que usual e institucionalmente tem sido entendida como literária e ficcional.

Os artigos devem ser enviados para rev.mediapolis@gmail.com, indicando no assunto: Call Mediapolis, até dia 15 de julho de 2017. Devem seguir as normas que podem ser consultadas no seguinte link.

CALENDÁRIO

Coordenadores: Carlos Reis e Ana Teresa Peixinho

O Colóquio Internacional MEDINFOR IV, A Medicina na Era da Informação, vai realizar-se nos dias 15, 16 e 17 de novembro de 2017 na Faculdade de Letras da Universidade do Porto, sendo organização conjunta da Universidade do Porto e da Universidade Federal da Bahia.

O colóquio MEDINFOR IV, tal como os anteriores, realizados alternadamente em Salvador da Bahia e no Porto, tem por objectivo central o exercício da interdisciplinaridade envolvendo a Ciência da Informação, a Medicina e outras áreas da saúde e da cultura. A apresentação de trabalhos académicos ou de âmbito mais profissional, num espaço de debate e de troca de ideias, permite pôr em confronto perspectivas diversas e estreitar laços entre académicos e profissionais das áreas da saúde, da informação e da cultura.

A temática do Medinfor IV estará centrada em 4 painéis:

1 – Gestão de Informação nos Sistemas da Saúde

2 – Informação em Saúde e Sociedade

3 – Comunicação e Divulgação Científica

4 – Memória, Identidade e Cultura

Call for papers

A submissão de resumos encontra-se aberta de 1 de abril a 15 de maio:

http://ocs.letras.up.pt/index.php/medinfor/MEDINFOR