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Έχετε ήδη όνομα χρήστη/κωδικό πρόσβασης για το περιοδικό Διεθνές Συνέδριο για την Εικαστική Πορεία προς τις Πρέσπες;
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Χρειάζεστε ένα όνομα χρήστη/κωδικό πρόσβασης;
Εγγραφείτε

Η εγγραφή και η σύνδεση είναι απαραίτητες για την υποβολή άρθρων διαδικτυακά και για τον έλεγχο της κατάστασης των τρεχουσών υποβολών.

 

Οδηγίες για τους συγγραφείς

Instructions regarding the formatting of the full paper for the International Conference Visual March to Prespa 

 

 

Your full transcript of the accepted papers should be between 3000 to 4000 words including tables, figures, notes, references, appendices etc.

 

The full paper must be submitted (in word form) by June 1st 2019 on the following email address: sinedrioteet@uowm.gr

 

GENERAL RULES

 

Times New Roman font is required.

Title of the presentation: 14 point, Italics

Authors’ name, professional title/ institutional affiliation: 12 point

One line between authors’ name and professional title/ institutional affiliation

Main text: 11 point

Titles of the subsections: 12 point

Footnotes: 10 point

Titles of images: 10 point

Interline spacing in main text: 1.5

Interline spacing in footnotes: 1

In the footnotes there is space between the number of the footnote and the text

Alignment in text and footnotes: Justified

 

Paragraphs: Paragraph indent: 3 spaces. No space is required between the paragraphs.

Sections: Skip a line between the title of the next section and the last paragraph of the previous section. No space is required between the title of the section and the text.

 

e.g

[…] viewpoints they represent and embody, with the ulterior motivation to revisit assumptions, formulate new understandings and gain lived moments of relational approaches to what bears significance to them in relation to their cultural/natural environments.  

   

Rationale, Aims, Aspirations

     The rationale for the whole approach relates to the stated need for the University Department involved to undertake an outreach, proactive stance, and design as well as execute initiatives that relate and heave an impact to the local communities surrounding its

 

Headers and page numbers: Do not write headers and page numbers.

 

 

REFERENCES

IMPORTANT:

NO SOURCES CAN BE MENTIOND IN THE REFERENCES IF THEY ARE NOT INCLUDED IN THE FOOTNOTES

 

In-text citations: They should be written at the bottom of the page according to the automatic numbering of the Word. . Where necessary, the full title of the work and the exact pages should be provided. When the same work is repeated in the next footnote, only the author’s name, the date, the abbreviation ‘Ibid’ and the page numbers should be written (e.g., Arnason 2006, Ibid 30-35.).

 

Examples:

1            Hobsbawm, E.-J. (1996). The age of revolution 1789-1848. 88. New York: Vintage Books.

2            Careri, F. (2002). Walkscapes. El andar como práctica estética. 70. Barce­lona: Gustavo Gili.

3            Deutsche, R. (1992). Art and Public Space: Questions of Democracy. Social Text, (33), 34-53.

2      Arnason  2006, Ibid 30-35.

 

References: The detailed list of references should be divided into Greek references (if there are any from Greek writers) and English references and written at the end of the paper in an alphabetical order (according to the first letter of the surname). The volumes and pages should be written only in numbers without providing letters, such as v. and p.

 

Examples:

 

Hobsbawm, E.-J. (1996). The age of revolution 1789-1848. New York: Vintage Books.

 

Foster, H., Krauss, R., Bois, Y.-A. & Buchloch B. (2011). Art Since 1900: Modernism, Antimodernism, Postmodernism. New York: Thames & Hudson.

 

Mouzelis, N. (1998). Ernest Gellner’s theory of nationalism: some definitional and methodological issues. In J.-A. Hall (Ed.), The State of the Nation: Ernst Gellner and the Theory of Nationalism, 158-165. Cambridge: Cambridge University Press.

 

Baudelaire, C. (1964). The Painter of Modern Life (trans. in English by Jonathan May, orig. published in Le Figaro, in 1863). 6. New York: Phaidon Press.

 

Publication in a journal

 

Léger, M.-J. (2012). Art and art history after globalization. In Third Text, 26(5), 515-527.

 

References  in the web

 

Ryan, H. (2018). Walking Presence: The body in urban space in Pakistan. Interartive: Walking Art / Walking Aesthetics. In  https://twitter.com/Clare Qualmann (Accessed: 10 July 2019).

 

 

In the References at the end there is always an intend between the titles

 

For example

 

Barba, E. (2014). Queimar a casa. São Paulo: Perspectiva.


Bondía, J.- L. (2002). Notas sobre a experiência e o saber de experiência. Barcelona: Universidade de Barcelona.


Campbell, J. (1949). O herói de mil faces. São Paulo: Cultrix/Pensamento.

 

 

In general:

At the end of the essay there are two sections:

References

(all the references in books, papers etc and the are cited the way we describe)

Web

(all the references from web THAT ARE FULL WEB PAGES for example THE WEBSITE OF AN ARTIST or A MUSEUM

No references or web are mentioned unless they are included in the text

 

  • The footnote numbers in the text are always after the punctuation.

 ……dream.1

……dream,1

……dream”.1

……dream?”1and he continued…

…... landscape?”.[1] From this experience,

  • A full stop (.) should be used in the footnotes between the titles of the various studies.
  • A hyphen (-) without space is used between the two author’s surnames.
  • Leave space after punctuation marks, such as colon (:), full stop (.) or comma (,), tables or photos.
  • When two bboks are cited in the same point they are referenced in diggerent citations

If Rosa José Galindo’s Piedra does not propose catharsis but primarily emphasizes the predominant conducts and structures in current public spaces, on the other hand, Reclaim the Night adopts Surrealist strategies of aimless night walking and its refusal of the “home/factory/factory/home” functional walk related to standardized production time.[2] [3]

  • In a repeated bibliography

The first time there is full citation

The second time with name/chronology/Ibid/page

If it is mentioned after we place only: Ibid/page

 

Example:

 

[1] Manning, E., (2009).Relationscapes. Movement, Art, Philosophy. Cambridge: The MIT

2 Kusenbach, M., (2003). Street Phenomenology: The Go-Along as Ethnographic Research Tool. Ethnography, 4(3), 455–485

3 Manning 2009, Ibid 29.

4Ibid 13, 15

FIGURES

Titles of Figures

In the titles for the credits we write

  1. If the Figure is cited in the text

Figure 4. Kassia Hymnes. Photo credit: Yannis Ziogas.

 

  1. If the Figure is a photo of a performance from someone other than the artist

 

Figure 1. Phoebe Giannisi, ΑΙΓΩ ΕΔΩ. PR PR PR PR FR FRFRFR KKKK HEIHEIHEI CHO TRTRTRTRYEHEHEHE work presented in the The first and always and last Psiloritis Biennale. 2019. Photo: Stamatis Schizakis.

 

  1. If the Figure is a photo of a three dimensional art work from someone other than the artist

 

Figure 1. Phoebe Giannisi, Vir, 90x68 cm. Oil on canvas. 2019. Photo: Panos Kokkinias.

 

  1. If the rights belong to an organization that has donated them:

 

Figure 2. Kouros Base from Ptoon Sanctuary. Courtesy of French Archaeological Institute. Photo:  E. Serafis.

 

  1. If the figure is a photo of someone who also has the rights and there are dimensions

 

                     Figure 3. Panos Kokkinias, Prespes. 120x100 cm. Photo: Courtesy of the artist, 2009.

 

  1. If the figure is a photo of someone who also has the rights and there are no dimensions

 

                     Figure 3. Panos Kokkinias, Prespes. Photo: Courtesy of the artist, 2009.

                  Figures 1, 2, 3. Panagiotis Lezes, Litany to no Body+ Nobody. Photo: Courtesy of the artist, 2019.

 

 

  1. If the figure is a photo of someone who also has the rigts we mention both the photographer and the one who

        has the credits

 

Figure 1. Clara Gari, Amelia Burke in l'Escala, Grand Tour 2015.  Photo: Yannis Ziogas, 2015

 

 

 

 

Text instructions

  • Names: They should be written in Latin letters. Those that come from countries where the Latin alphabet is not used should also written in Latin letters. In the first time that they are used there should be in parenthesis the name in the non-Latin form.
  • In- text citations: They should be written within the text of the paragraph using quotations and not italics. Extracts longer that three lines should be cited after skipping a line.

Examples

The artist overheard a phone conversation between the police officers, in which they said that they have “the girl that has been walking from the city centre”.

 

By the end of the 18th century, the philosopher Immanuel Kant, in the Critique of Judgment (1790), includes landscape gardening in the formative fine arts:

 

“Painting […] I would divide into that of the beautiful portrayal of nature, and that of the beautiful arrangement of its products. The first is painting proper, the second is landscape gardening. For the first gives only the semblance of bodily extension; whereas the second […] consists in no more than decking out the ground with the same manifold variety (grasses, flowers, shrubs, and trees, and even water, hills, and dales) as that with which nature presents it to our view, only arranged differently and in obedience to certain ideas. The beautiful arrangement of corporeal things, however, is also a thing for the eye only, just like painting.”[4]

 

 

Photos, figures and tables

Diagrams and tables should be inserted in the text following reference to them. They should be placed in the centre of the text in a horizontal or vertical dimension. The headings of the figures should be written in 10 point in the centre of the text. In addition, photos and figures should be 300 dpi and sent in separate, clearly titled files. Photos and diagrams cannot exceed the number of 10.



[1] Careri, F. (2002), Ibid 120.

[2] Careri, F. (2006). Walkscapes. Camminare come pratica estetica. Torino: Einaudi.

[3] Waxman 2009, Ibid.

[4] Kant, I. 1962/69. The Critique of Judgment. Part I, book II, § 51.2, 187-188. Oxford: Oxford University Press.

 

Πολιτική Προστασίας Προσωπικών Δεδομένων

Η  Εικαστική Πορείας προς τις Πρέσπες εφαρμόζει τους νόμους που διέπουν την Προστασία Προσωπικών Δεδομένων