Submissions

Submission / Publication Guidelines

Focus and Scope

Revista Concinnitas welcomes articles, essays, visual essays, reviews, artists' writings, interviews and translations. Its central focus is the study, critical reflection and dissemination of productions and thoughts in the field of the arts, with an emphasis on contemporary art and its multiple intersections with culture, politics, society and technology. It also dialogues with the History and Historiography of Art, considering its problems and new approaches.

The journal seeks to promote a space for dialog between diIerent languages, practices and discourses, welcoming interdisciplinary and experimental approaches that push the traditional boundaries of art and critical thinking. It considers of particular interest the emerging debates that cross the fields of aesthetics, curatorship, art history and theory, creative processes and studio practices, as well as the intersections between art, activism, decoloniality, gender, the environment and digital technologies. The journal aims to contribute to the strengthening and visibility of academic and artistic production in Brazil and in international contexts, stimulating a plurality of perspectives and innovative critical thinking.

The scope of the journal includes the publication of unpublished articles of a theoretical or theoretical-practical nature, visual essays that explore the image as a form of thought in tension with the page, critical reviews of recent publications, exhibitions, catalogs and the like. In addition to interviews with artists, curators and thinkers, translations of relevant texts not yet available in Portuguese, as well as writings by artists who reflect on their own practices and the practices of others in order to build a broader theoretical universe.

By adopting this diverse format, the journal recognizes and values the multiplicity of ways of producing knowledge in the field of Visual Arts. Open to national and international contributions, the journal maintains a commitment to academic quality, editorial rigor and aesthetic experimentation, seeking to welcome dissident voices, innovative artistic practices and critical approaches that contribute to broadening and deepening the debate on contemporary art in its diIerent manifestations and contexts.

As part of the submission process, authors should follow the guidelines below:

Guidelines for authors

Revista Concinnitas welcomes articles, essays, visual essays, reviews, artists' writings, interviews and translations that dialogue with the magazine's Focus and Scope.

As part of the submission process, authors should follow the guidelines below:

(1) Only one (1) proposal per author and/or co-author may be submitted for editions with a specific call. For continuous flow calls there is no limit, but we rely on the common sense of the proposers, considering the subsequent demand that each material requires of us;

2. Contributions not in Portuguese will also be accepted. If the work is in a foreign language other than French, English or Spanish, its evaluation period may be extended;

3. There is no time limit for evaluating material, considering our high demand. On average, we work with six months. This period can be extended, given the flow of work at any given time;

4. The collaborator must guarantee the right of exclusivity to Concinnitas until the Editorial Board's opinion is received;

5. The content of submissions is the sole responsibility of the authors;

6. Revista Concinnitas does not apply submission, publication or any other fees in its processes.

7. The author undertakes to meet the demands of the editorial board with regard to the text and images whenever requested, and to comply with the deadlines set by the board;

8. Only contributions that are in line with the editorial line of Concinnitas will be evaluated;

9. The authors retain copyright and grant the journal the right of first publication, with the work licensed under a Creative Commons BY-NC attribution license;

10. After publication, the authors retain copyright and the right to republish their work;

11. Submitted and approved work may be published in subsequent issues of the journal if the text remains unpublished;

12. It is the sole responsibility of the authors to obtain written permission to use materials protected by copyright law in their collaborations;

13. This permission is expressly required in the case of translations and must be sent as an attached document at the time of submission;

14. The author must upload at least two files to the platform. The first must be the work without any identification of authorship anywhere, whether in the header, body text or subtitles (failure to comply with this rule automatically invalidates the submission), which guarantees blind peer review. This first document is added during submission in "Step 2. Transferring the manuscript". The second file must be attached in the same place during the submission process. This second file is the full paper, which, if approved, will be published, and it must contain all the author information requested in the next item;

15. The author must fill in all the fields on the submission platform, including: title in Portuguese and title in English, abstract in Portuguese and abstract in English (each with a maximum of 55 words), a set of four keywords in Portuguese and the same number of keywords in English, their full details (full name, e-mail, city, country, institution to which they are aIiliated (full institutional address for correspondence) with the position held at the institution), mini-biography of no more than five lines, URL of the Lattes CV and ORCID* (with the respective URL).

*The information required in this item must appear on the first page of the text as follows in the order described: (i) title in Portuguese; (ii) names of the authors/translators; (iii) abstract; (iv) keywords; (v) title in English; (vi) abstract and (vii) keywords. The following information should also appear on the first page of the text, in a footnote: (i) mini-biography; (ii) institutional aIiliation; (iii) institutional address; (iv) ORCID; (v) lattes id; and (vi) city/country of residence; as follows:

Example:

PhD student in Visual Arts in the Postgraduate Program in Arts at the State University of Rio de Janeiro (UERJ). Master in Art History at the Institute of Philosophy and Human Sciences of the State University of Campinas. Graduated in Visual Arts from the Institute of Arts at UERJ. Student or teacher etc. State University of Rio de Janeiro, São Francisco Xavier, 524 - Maracanã, Rio de Janeiro - RJ, 20943-000. E- mail: exemplo@gmail.com. ORCID: https://orcid.org/0000-000-0000-0000. Lattes ID: http://lattes.cnpq.br/00000000000. Rio de Janeiro, Brazil.

*The ORCID can be generated from the link https://orcid.org/register if the author does not already have one.

16. Every file uploaded to the platform must have the following three letters indicated, according to the intended section, in the file name and before any information:
ART - Article

ENS - Test
ESV - Visual Testing
RES - Review
ENT - Interview
EAR - Written by an Artist TRA - Translation

17. Failure to complete or incorrect completion of items 14, 15 and 16 will result in the material being rejected even before the blind assessment;

18. The titles of submissions should only use upper and lower case letters in accordance with the current 1990 Orthographic Agreement of the Portuguese Language, and should not be all in upper case. When the upper/lower case resources are necessary for the poetics of the text, this formatting may be in the body of the text (but not in the "title" space of the submission on the platform);

19. All textual production, including bibliographical references, must be submitted in accordance with ABNT standards, except in the case of aesthetic/poetic interference with the work.

20. The magazine reserves the right to make any changes to the layout of the proposal in order to comply with the layout of Concinnitas magazine.

FOR ARTICLES

Conceptually, a scientific article in Visual Arts and Art History is a form of intellectual production that articulates critical thinking, aesthetic reflection and theoretical or practical research into visual manifestations. It operates as a discursive space where analysis, interpretation and reasoned questioning of works, images, artistic practices, historical contexts, modes of reception and art legitimization systems are developed.

In the field of Visual Arts, the scientific article distinguishes itself by treating art not just as an object of contemplation, but as a field of symbolic and cultural production, whose meanings are multiple, mobile and historically situated. In Art History, the article emerges as an exercise in constructing critical narratives about the visual past, considering the insertion of works in their social, political, philosophical and aesthetic contexts. In both cases, the text articulates concepts, methods and references that allow us to understand art as a language and as a way of thinking.

This type of writing is not restricted to reporting facts or describing works, but proposes authorial and argumentative readings, supported by conceptual rigor and

dialogue with other academic discourses. Often, the scientific article in Visual Arts and Art History also incorporates sensitive experience and artistic practice as legitimate forms of knowledge production, operating in hybrid zones between theory and creation. In this way, it contributes to the construction, revision and problematization of discourses on art in its multiple dimensions. It is the final form of a previously researched thought, research or hypothesis.

1. text in .DOC or .DOCX format, Arial font, size 12, 1.5 spacing, ranging from 20,000 to 60,000 characters, including spaces and all written content (bibliographical references, image captions, footnotes, etc., except title, abstract, keywords and keywords, which have their own rules); without indenting paragraphs, which must be indicated by a blank line; A4 format;

2. The text must be justified and written in a single column; 3. Subheadings should not be numbered;

4. There should be no indentation at the beginning of paragraphs, each one separated only by a blank line;

5. Title with its English version;

6. An abstract of no more than 55 words summarizing the aims, methods and conclusions of the text;

7. A set of 4 keywords, identifying the content of the article, with the respective English version (keywords);

8. Quotations, up to two lines, in the body of the text between quotation marks; with three or more lines, indented 4.5 cm to the right of the margin, without quotation marks, body 10, single spaced, not italicized;

9. Titles of books, periodicals, paintings, sculptures, films and videos in italics without quotation marks;

10. Titles of poems and songs without italics;

11. Words in foreign languages in italics without quotation marks;

12. Footnotes at the end of each page (single-spaced, Arial font, size 10), numbered in Arabic numerals. We will not accept notes at the end of the text; Note: all bibliographical references must come at the end of the text (not in footnotes);

13. Bibliographical references: author's last name (all capital letters), first name. Title of the work (if book or thesis, in italics; if article or chapter, without italics and followed by in and the reference as for a book). City in which it was published (or defended, in the case of a thesis): publisher (or university, in the case of a thesis),

year; URLs for references should be provided whenever possible; all bibliographical references should come at the end of the text and in alphabetical order;

Example:

KRENAK, Ailton. Ideas to postpone the end of the world. São Paulo: Companhia das Letras, 2019.

14. Other references, such as websites, videos and the like, should follow the ABNT guidelines.

15. Images, with captions provided by the author: at least one, preferably vertical, for presentation of the text and possible dissemination, and a maximum of five. They must be inserted in their original position in the .DOC or .DOCX file in A4 format, and also uploaded in separate auxiliary documents on the platform with a resolution of 150 DPI. Any specification on the size and position of images must be justified in a comments box; the author is responsible for the rights to such images.

15. Captions must be complete in both the image file name and the text document (single-spaced, Arial font, size 10). They should include the following items for each image in the order indicated: author, title, year, technique, dimensions, source and authorship. If there is unknown data, use s.d., respecting the order of the caption as indicated here.

FOR ARTS ESSAYS

The essay is a reflective, experimental and more subjective form of writing, built on intellectual restlessness, without the obligation to present "verifiable" results or testable hypotheses. The essayist proposes an original reading or interpretation of a theme, often with formal freedom, digressions and metaphors. In the world of art, the essay is fertile ground for the articulation of sensibility, thought and aesthetic experience, allowing a freer transit between fields of knowledge.

Precisely because of this, it doesn't follow a rigid format. It can start with a question, a metaphor or a personal experience. Its language can be literary, poetic, provocative or even fragmentary. The argument is more associative than deductive, and the text can develop through approximations, analogies and images. The presence of theoretical references is common, but it doesn't necessarily follow technical norms or aim for bibliographical exhaustiveness.

Although it can be highly sophisticated and profound, it generally doesn't claim to validate anything in the scientific sense. Its validity lies in its power of suggestion, its ability to spark thought, propose imaginative hypotheses, challenge established truths and create new ways of seeing.

Comparative Chart: Scientific Article vs. Essay in the Field of Visual Arts

Aspect Objective

Type of knowledge

Language

Form
Use of fonts Author

Reader

Academic impact

Examples in Visual Arts

Scientific article

Presenting the results of systematic research or reasoned analysis

Validated, argumentative, cumulative

Technical, objective, impersonal (with possible variations in the area of art)

Standardized structure (introduction, methodology, etc.)

Mandatory reasoning, formal citations

Speaking as a researcher in a scientific community

Academic readers looking for rigor and clarity in their arguments

Evaluated by committees and journals; requires scientific criteria

Methodological analysis of works,studiesoncuratorship, articles on art teaching

Essay

Propose authorial, subjective and open reflections on aesthetic or conceptual themes

Intuitive, exploratory, reflective

Stylized, subjective, literary or poetic

Free, open form, often fragmentary or fluid

You can use references, but in a free and non-standardized way

Speaking as a thinker or artist who proposes an authorial reading of the world

Readers open to experimentation, suggestion and conceptual displacement

It can have a major cultural, aesthetic and theoretical influence even outside scientific circles

Reflections on the gaze, the image, artisticcreation,contemporary aesthetics

For the Essays section, authors should follow the guidelines for Articles, unless they need to make graphic and structural inventions on the pages. In any case, the abstract, keywords and metadata are mandatory. Failure to do so will invalidate the submission.

FOR REVIEWS

Reviews must meet the following requirements:

1. text in .DOC or .DOCX format, Arial font, size 12, 1.5 spacing, ranging from 4,000 to 10,000 characters, including spaces and all written content (bibliographical references, image captions, footnotes, etc.); without indenting paragraphs, which should be indicated by a blank line; A4 format;

2. There should be no indentation at the beginning of paragraphs, and each paragraph should only be separated by a blank line, which is equivalent to 1 Enter;

3. The text must be justified and written in a single column;

4. Details of the book reviewed (title, author, city, publisher and year) or the exhibition/work (title, location, city and opening and closing dates);

5. Quotations, up to two lines, in the body of the text between quotation marks; with three or more lines, indented 4.5 cm to the right of the margin, without quotation marks, body 10, single spaced, not italicized;

6. Titles of books, periodicals, paintings, sculptures, films and videos in italics without quotation marks;

7. Titles of poems and songs without italics;

8. Words in foreign languages in italics;

9. Footnotes at the end of each page (single-spaced, Arial font, size 10), numbered in Arabic numerals; we will not accept footnotes at the end of the text; Note: all bibliographical references must come at the end of the text (not in footnotes);

10. Bibliography (references): author's last name (all capital letters), first name. Title of the work (if it is a book or thesis, in italics; if it is an article or chapter, without italics and followed by in and the book reference). City in which it was published (or defended, in the case of a thesis): publisher (or university, in the case of a thesis), year; URLs for references should be provided whenever possible; all bibliographical references should come at the end of the text and in alphabetical order;

Example:

KRENAK, Ailton. Ideas to postpone the end of the world. São Paulo: Companhia das Letras, 2019.

11. Images, with captions provided by the author: a minimum of three (it is important that one is vertical for presentation of the text and possible dissemination) and a maximum of five. They must be inserted in their original position in the .DOC or .DOCX file in A4 format, and also uploaded separately as complementary files on the platform, with a resolution of 150 DPI. Any specification on the size and position of images must be justified in a comments box;

12 Captions must be complete in both the image file name and the text document (single-spaced, Arial font, size 10). They should contain the following items for each image in the order indicated: author, title, year, technique, dimensions, source and authorship. If there is unknown data, use s.d., respecting the order of the caption as indicated here.

FOR VISUAL TESTING

(1) The visual essay needs to be designed for the Concinnitas publication format, so that the essay itself is the presentation laid out on the pages of the magazine. Images and text must fit into the graphic space, making up the visual essay. This is not just a record of work, but the production of graphic material that takes into account the structure of the magazine, its publication on a virtual site and the OJS platform itself;

2. The images and texts that may make up the visual essay must be sent in edited form, i.e. diagrammed in a document in .DOC or .DOCX format. The images must have a resolution of 150 DPI (unless the low quality of the image is part of the poetics of the work) and, in addition to being in the diagrammed document, they must be uploaded separately by the platform as supplementary documents;

3. It should be a maximum of ten pages in A4 format, respecting the magazine's specifications, and may be oriented in either portrait (vertical) or landscape (horizontal) mode.

4. Visual essays must also be accompanied by (i) a title in the respective English version; (ii) a summary in the respective English version - abstract - (of no more than 55 words), which summarizes the aims, methods and conclusions of the work and, (iii) 4 keywords that identify the content of the article, in the respective English version (keywords);

FOR ARTIST'S WRITINGS

The material must follow the indications in the Essay. And adapt it as necessary.

FOR TRANSLATIONS

The material must follow the structure of the Articles. It is essential to send the author's authorization in the original language.

FOR INTERVIEWS
The material must follow the indications in the Essay. And adapt it as necessary.

DETAILS ON IMAGE FORMATTING

1. The magazine is not responsible for obtaining copyrighted images;

2. Authors must provide any images they wish to include in their texts;

3. Authors must provide image captions and indicate where they should appear in the body of the text in brackets (fig. x).

4. Concinitas reserves the right not to publish images that are not of the quality required for publication* or to change their position in relation to the text in order to respect the layout of the magazine;

5. Image captions included throughout the text should follow the following pattern:

Fig. (number in ascending order). Author, Title in italics, year. Technique, dimensions in cm, Location (name of museum, collection etc., if any), city (if any);

6. Images must be delivered as an attachment in PDF format A4 and be 150 DPI. They must also be inserted in the correct positions in the document in good resolution;

7. For the digital version of the magazine, it is possible to send color images. If the printed version is produced, it can be converted to B&W (grayscale);

8. For images taken online, include the source in the form of a shortened address or website name.

* Its quality may be reduced when generating the PDF of the magazine for publication.

Copyright Statement

By submitting articles, reviews and visual essays to Concinnitas Magazine, the author agrees to the Term of Responsibility listed below:

I declare that this work is an original contribution and has not been previously published, in whole or in part, in any form of printed or electronic media, and has not been submitted concurrently to other journals, nor will it be until its evaluation process by the Concinnitas Journal of the Graduate Program in Visual Arts at UERJ is completed.

I agree with the assignment of copyright to PPGARTES-UERJ, which may publish the content submitted in the Concinnitas journal in electronic or printed format and make it available in electronic format or other media for bibliographic indexing databases, repositories and databases of references and artistic, scientific and cultural journals. Upon receipt of the submission, the journal reserves the right to make its textual and image content available on its social networks for possible dissemination.

I also declare that I am suIiciently involved in the work to make public my responsibility for its content. If requested, I will provide information and data relating to the study presented in the manuscript or essay for analysis by the journal's editors.

I declare that the textual formatting of the article may be altered to comply with the layout rules of Concinnitas magazine.

I declare that the images presented for publication are in the public domain or copyright, and that I give the use of these images strictly to PPGARTES-UERJ, which may publish it in the Concinnitas Journal in electronic or printed format and make it available in electronic format or other media for bibliographic indexing bases, repositories and databases of references and artistic, scientific and cultural journals.