Let’s stay tuned!

We are thinking about the future, protecting and promoting the Art Style Magazine’s publications by using Zenodo and Core repositories. You can learn more in our new post, Beyond the Traditional Publishing Life Cycle. Stay tuned for the latest updates!

Illustrative image. Photo by Brett Sayles.

Beyond the Traditional Publishing Life Cycle

By Christiane Wagner, Editor-in-Chief

To achieve Art Style Magazine’s goal of being part of the best indexers, besides considering a periodicity of at least two years, it is necessary to meet some other requirements. Among the required actions is to have the magazine well-protected and linked to the best repositories. Thus, we are thinking about the future, protecting and promoting the Art Style Magazine’s publications by using Zenodo and Core repositories. We have just done this with our first edition. The whole process is very detailed, but we will soon conclude this important lesson in all Art Style Magazine editions.

With Zenodo, “researchers can receive credit by making the research results citable, through OpenAIRE integrating them into existing reporting lines to funding agencies like the European Commission. Citation information is also passed to DataCite and onto scholarly aggregators.” Art Style Magazine is also deposited in CORE — Open Access for the Humanities and Commons Open Repository Exchange, which is stored in the Columbia University Libraries’ long-term digital preservation storage system.

Art Style Magazine aims to improve how research production quality is evaluated through publications, being a signatory to the main agreements that pursue practices related to research articles published in peer-reviewed journals, which can and should be extended to other products, such as datasets, because they are relevant research results.

Furthermore, the aim is to evaluate the research on its merits. We are also committed to ensuring that our journal will be well-indexed and are working toward this. It is only a matter of time, considering that the best indexing takes, on average, two years. The main indexers and institutions we have subscribed our Art Style Magazine to are as follows: Web of Science, Clarivate Analytics, DOAJ (Directory of Open Access Journal), ERIH Plus (European Reference Index for the Humanities and Social Sciences), Google Scholar Metrics, Latindex, and, most importantly, to become a member of the Committee on Publication Ethics (COPE). COPE is committed to educating and supporting editors, publishers, and those involved in publication ethics to move the publishing culture towards one where ethical practices become a regular part of it. We expect the support and contribution of all those involved and passionate about research and publications, especially in our area. We wish you all the best that Art Style Magazine can offer.

Cinema’s Technical Vanguard, Modern and Contemporary Art

By Christiane Wagner

In retrospect, in this fourth issue of Art Style Magazine,  the bases of the primary aesthetic reflections are focused on modern art and avant-garde movements in their effects, mainly to represent the visually perceived universe of the constructivists, cubists, futurists, dadaists, and surrealists, configuring images through collage, montage, and assemblage to the techniques of film editing. The essay “Montage and Assemblage: an Aesthetic Shock” by Dominique Berthet presents the methods and theories of significant Russian filmmakers in the development of film editing effects and shows how “montage (editing) has transitioned from concept to concept in the film theory of young Soviet filmmakers.” For instance, the French word montage (1917) was appropriated and transformed into a concept–the concept of film editing–that is to say, that it loads of rich theoretical content. Also, he highlighted montage as an aesthetic and political challenge associated with other arts rather than with cinema. Moreover, he stated montage being based on the shock of fragments, themselves linked to artistic modernity, and the assembly of fragments as “the mark of refusal and emancipation vis-à-vis representation, déjà-vu, of the established order.” Finally, toward contemporary art in its “limitless hybridization of artistic practices.”

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Excerpts from Glumov’s Diary is Eisenstein’s first film, 1923. Screenshot by Christiane Wagner. Creative Commons Attribution license (reuse allowed).

“It should be noted that the contradictory debates between Kuleshov, Pudovkin, Vertov, and Eisenstein on the subject of montage must be seen in the context in which they were born – that is, the Soviet Union of 1917-1940. Montage assumes the selection of fragments, their combination (approximation), and the construction of a set” (Berthet 2019).