Intermedial Studies

Статья представляет интермедиальный подход к проблеме соотнесения сервантесовского и караевского «Дон Кихотов». Музыка Кара Караева к фильму Г.Козинцева «Дон Кихот» (1957) и его Симфонические гравюры «Дон Кихот» (1960) уже становились объектом изучения азербайджанского музыкознания. Однако филологическая наука ещё не обратилась к вопросу, как на роман Мигеля де Сервантеса Сааведры о хитроумном идальго Дон Кихоте Ламанчском откликнулось искусство музыкальное, а именно, творчество Кара Караева Предпринятая впервые попытка глазами страстного читателя, каким являлся К.Караев, взглянуть на его любимую книгу, используя при этом как достижения отечественного музыковедения (Л.Карагичева, Э.Абасова), так и зарубежную литературную критику (В.Набоков, С.Бочаров, О.Турышева), позволяет выявить особенности караевской транскрипции одного из знаковых произведений мировой литературы.

A través de esta investigación propongo el desarrollo de nociones en relación para la creación, el estudio y la experiencia de la videodanza desde un enfoque intermedial, las cuales se entretejen conformando, como me gustaría mostrar, una constelación de relaciones epistémicas. Los términos coreo-cinema y videodanza, nombran a un campo que implica la contaminación y el enriquecimiento mutuos de recursos y elementos de danza- coreografía y cine-video, como tránsito entre estos medios, transformándolos en sus intersecciones y proponiendo nuevas nociones en potencia y devenir.

Considero que la propuesta de interrelación de nociones, en esta investigación, se puede pensar y ocupar a manera de entramado conceptual y teórico-práctico para videodanza y probablemente para otros casos de intermedialidad. Propongo nociones en lugar de conceptos o definiciones, y un entramado a diferencia de un conjunto cerrado de elementos compositivos o formales para videodanza. La noción indica pues un cambio de enfoque, una propuesta metodológica que asume movimientos constantes, inestabilidades e imposibilidad de fijaciones para el campo intermedial e interdisciplinar del coreo-cinema.

Esta pesquisa se dedica à investigação dos modos de invenção em arte que utilizam como base da sua construção a materialidade técnica e tecnológica. Partimos de uma pesquisa-ação, que teve como objetivo principal o desenvolvimento de metodologias possíveis para a inserção de conteúdos relacionados à cena intermedial na formação de docentes de teatro. Sistematizamos um estudo de caso alicerçado em duas produções artísticas contemporâneas: Shary Boyle e Collectif Lebovitz. Nos aproximamos de seus processos criativos com o maquínico, destacando em seus modos de agir a elaboração de uma mentalidade técnica associada ao conhecimento das etapas de concretização dos aparelhos, ciclos de invenção e modulações criativas pertinentes aos processos em grupo. Em paralelo empreendemos cursos de extensão voltados para alunos das Licenciaturas em Teatro das universidades UFMA e UFRGS, com o intuito de experimentarmos modos de encenar e apreciar a cena intermedial, partindo de uma perspectiva ética/ estética, deslocando-nos da primazia humanista ou tecnicista para uma uma ênfase sobre a correlação dos processos de individuação entre homem e máquina. A referida mudança de perspectiva, no contexto desta investigação, gerou a construção da disciplina Laboratório de Arte, Tecnologia e Educação, componente curricular obrigatório do Curso de Licenciatura em Teatro da UFMA, que pretende atuar como rearticulador de uma mentalidade técnica, voltada para o ensino e apreciação da Cena Intermedial nos contextos formativos das Licenciaturas em Teatro no Brasil.

Depuis plus de 20 ans maintenant, l’intermédialité transforme radicalement notre façon de penser les textes, tous médias confondus. Elle a provoqué de nouvelles synergies entre les disciplines, induit de nouveaux partages et emprunts méthodologiques, et même permis d’établir de nouvelles lignes de démarcation entre les cultures universitaires. Alors que la revue Intermédialités/Intermediality fête ses 15 ans, nous nous proposons de faire le point sur les différentes conceptions que l’on se fait de l’intermédialité à l’international. « Cartographier (l’intermédialité) » signifie donc que l’on s’intéressera aux divers cadres institutionnels et méthodologiques qu’elle rencontre à travers les mondes universitaires qu’elle traverse, mais aussi à l’extraordinaire variété d’objets auxquels elle se retrouve appliquée. Comment l’intermédialité permet-elle de distinguer les cultures universitaires ? Est-il possible d’unifier les conceptions que l’on se fait de l’intermédialité à partir des disciplines où elle apparaît plus ou moins incidemment (comme dans les études littéraires, les études cinématographiques, les études théâtrales, l’anthropologie, les cultural studies, les (video)game studies, etc.) ? Ou sont-ce plutôt la langue et la tradition de recherche nationale qui sont déterminantes pour l’unité des conceptions que l’on se fait de l’intermédialité ? Quels sont les concepts communs que les domaines d’études émergents — en particulier celui de l’écologie des médias — doivent à l’intermédialité ? Enfin, quel rapport entretient l’intermédialité avec de récents « grands tournants » en sciences humaines, par exemple la montée des humanités numériques ou encore celle des new materialisms ?

ANIMALS  IN  NIZAMI  GANJAVI’S POEM LEYLI  AND  MAJNUN

ABSTRACT
The  realistic  character  of  the  poem  “Leyli  and  Majnun”  by  Nizami  Ganjavi  does  not  coincide  with  the  manner  in  which  the  theme  of  animals  is  presented  in  the  work.  The  author  of  the  article  explains  the  animals’  role  as  related  to  specific  features  of  Islamic  art  such  as  symbolism  and  ornamentality,  which  is  also  reflected  in  Nizami’s  artistic  thinking.  Analysis  of  the  poem’s  peculiarities  leads  to  several  conclusions  related  to  music  and    the art of carpet weaving  of  the  XIIth  century,  which  did  not  survive  to  present  day.

For over twenty years now, intermediality has radically transformed the ways we think about texts across media. It has introduced new synergies between disciplines, new ways of sharing and borrowing methodologically, and it has even established new lines of demarcation between academic cultures. Thus, as the journal Intermédialités/Intermediality celebrates its fifteenth anniversary, this issue charts the diversity of current conceptions of intermediality. Emphasizing the concept’s far-reaching international dimension, “Mapping (Intermediality)” focuses on the diverse institutional frameworks and methodologies that intermediality encounters as it traverses numerous academic worlds, as well as on the extraordinary variety of its objects of study. How does intermediality allow us to distinguish among academic cultures? Furthermore, is it possible to unify conceptions of intermediality based on an observation of those disciplines where it is routinely practiced, but often without much theorization (as is the case in literary studies, cinema studies, theater studies, anthropology, cultural studies, (video) game studies, etc.)? Or, rather, might it be language specificity and national research traditions, primarily, that consolidate understandings of what constitutes intermediality? What are some of the overarching concepts that emerging fields of study (in particular that of media ecology) owe to intermediality? And what is the connection between intermediality and important recent shifts in the humanities, such as the rise of digital humanities or new materialisms?

It is a brief, heuristic, and textually paradigmatic study of the inter-artistic and multidisciplinary categories of perception, perspective, and depth. It concerns the modern Hellenic/Greek postwar literary environment. Particularly, this study examines a specific era's poetry and the last one's additional painting and philosophical implications/modalities regarding the abovementioned categories. [The issue of the interrelated perception, perspective, depth, and illusion, at least, is further explored in a series of unpublished manuscripts but on a much different axon compared to this published paper.]

Quarenta Clics em Curitiba é uma rara, quase sem precedentes, obra
colaborativa de fotolivro de literatura brasileira. Sua estrutura de folhas
soltas, sem numeração, impede o leitor de qualquer tentativa de
sequencializar a leitura. Impedido de criar focos de atenção privilegiados,
com sequências capazes de sugerir estruturas narrativas, ele “recria” no
leitor a sensação de procrastinar pela cidade, imerso em acontecimentos
triviais. Apresentamos este complexo fenômeno de intermidialidade, e
analisamos brevemente alguns exemplos do “denso acoplamento” criado
entre a poesia verbal de Paulo Leminski e a fotografia de Jack Pires.

The idea of ‘music alone’ as an independent auditory medium expressed in the institutions of today’s academia does not resonate with how we listen to and perceive music in everyday life; music is always accompanied with paratexts such as programme notes, LP sleeve images or other types of media. This idea forms the basis for this essay and is used to present a number of issues concerning meaning production: How, where and when is musical meaning produced? To be more specific, this essay deals with how an intermedial music culture can be described and analysed through one specific case study. Intermediality arises in the crossings between constructed media borders, which means that different aspects of a specific medium can be transgressed in various ways. Based on the American composer and jazz musician Brad Mehldau’s (1970–) most complex instrumental work, the concept album Highway Rider (2010), this essay explores how such an album can be understood within an intermedial music culture. It merges formal and structural analysis with cultural, historical, technological and psychoanalytic aspects of music emphasising the role of subjectivity in the production of meaning. By offering a varied and broad theoretical and methodological framework, the author demonstrates ways to approach the work using concepts like transmediality, intermedial reference, meta-reference, iconicity, semiotics, paratext, psychoanalysis and ecological psychology.

The paper proposes to focus on the multiple affordances and intermedial aesthetic of the cinematic tableau seen as a performative space resulting in the impression of watching a painting, a theatre stage, a shop window, a diorama, or a photo-filmic installation in which the play between stillness and motion is accompanied by a reflexive emphasis on media and the senses. Such images, described extensively by David Bordwell in his writings on the evolution of film style, are being re-evaluated through debates on the “tableau form,” “absorption and theatricality” in modern art and photography (e.g. Jean-François Chevrier, Michael Fried). In particular, the aim of this paper is to examine inflections of the cinematic tableau in the films of three contemporary European authors, Corneliu Porumboiu (Romania), Roy Andersson (Sweden) and Joanna Hogg (UK), and relate them to the paradigm of the Dutch interior established in seventeenth-century painting.
Keywords: intermedial aesthetic of the tableau shot, Dutch interior in cinema, Corneliu Porumboiu, Roy Andersson, Joanna Hogg.

"Identity, Technology, Nostalgia:
The Theatre of Ivo van Hove, Robert Lepage and the Wooster Group."

Bodies on Stage: Acting Confronted by Technology. Sorbonne Nouvelle. Paris, June 2015.

In recent theatre practice, attempts have been made and desires expressly voiced –from puppet theatre to robotic, cyborg, hybrid and/or intermedial performance— to create pieces of theatre that defy the gravitational limitations of live presence. The flexibility of theatre forms and of “theatricalizeable” material has in many cases rendered the actor’s body nearly obsolete.

The extensive use of multimedia forms, besides “updating” theatre’s “polyphonic system of information” (Barthes, 2000: 263), no doubt mirrors an instinct for self-preservation and brings to the fore ontological questions about the multiple facets of performativity in a post-humanist era. Furthering the understanding of the “text-ability” of any constituent element of the stage within the current postmodern, postdramatic paradigm, the paper dwells on the battle between a semiotically-bound self-reliant performance text as inscribed by technological simulacra and its phenomenological claim by the actor. The presentation focuses on examples taken from the multimedia work of Robert Lepage, Ivo van Hove and the Wooster Group, exploring the tension experienced by both performers –and by extension, spectators—when faced with their screened/duplicated/“ghosted” selves. In these directors’ work, the implication often becomes that digitized representations of the self –and by extension of the world— are frequently the only valid, if counterfeit, realities in postmodern, “post-existential” culture.

The example of Lepage, Van Hove and the Wooster Group is significant in defining a landscape where the technologically-informed mise-en-scene actually reflects a kind of nostalgia for the individual’s “pure” corporeality, which has in our times been further and relentlessly problematized by a multitude of cultural metaphors. While it is certainly worth investigating the ways in which the combination of video and live images can become “a visual metaphor of split subjectivity” (Causey in Auslander: 2008, 386), it is equally important to consider the reasons and conditions that have rendered technological mediation in performance an increasingly vital partner in the representation of contemporary identity.

Media products of all sorts form a complex web of different relationships. Media products involve transformations, integrations and combinations as well as transmedial aspects. When we look at media combinations in this chapter, all these different aspects are brought into play. Media combinations of different basic media types are always, literally, intermedial combinations that involve intermedial relations between different forms of communication.

En las últimas décadas, las catástrofes y complejidades de la historia asoman en el teatro de Rafael Spregelburd no solo en sus tematizaciones, sino también en exploraciones intermediales, seriadas y de larga duración que buscan movilizar, a nuestro entender, un pensamiento y una práctica acerca del lugar de la imaginación artística (y política) en la actualidad. Opera, igualmente, con el reciclaje de múltiples materiales y una revisión crítica sobre la ficción, la realidad y el tiempo que lo conectan con una manera de entender la historia en tanto trastornada (“preposterous history”, en Bal). El presente trabajo busca analizar su proyecto más reciente, El fin de Europa, escrito entre 2012 y 2017, bajo la siguiente premisa: un teatro en tiempos de crisis, calamidades y finales procura desmonta los relatos del fin haciendo ver que ese punto que marca la eclosión no es tanto un cierre, sino una posibilidad de entender y habitar el mundo de otra forma, aún cuando todavía no sepamos cómo hacerlo.

Abstract: In the last decades, catastrophes and complexities of history appear in Rafael Spregelburd´s theater not only in its thematizations, but also in intermedial, serial and long-lasting explorations that seek to mobilize, to our understanding, a thought and a practice about the place of artistic (and political) imagination today. It also operates with the recycling of multiple materials and a critical rework about fiction, reality and time that connect it with a way of understanding history as "preposterous history" (Bal). The present work seeks to analyze his most recent project, The End of Europe, written between 2012 and 2017, under the following premise: a theater in times of crisis, calamities and endings seeks to dismantle the stories of the end making it seem that the point that marks the hatching is not so much a closure, but a possibility to understand and inhabit the world in another way, even if we still do not know how to do it.

https://cerac.unlpam.edu.ar/index.php/anclajes/article/view/6157/7028

Rafael Spregelburd es, sin dudas, uno de los dramaturgos argentinos más destacados en la escena internacional, así como uno de los más productivos de su generación. Sus trabajos han indagado de forma sostenida las teorías de la complejidad y la filosofía del lenguaje. Se trata de un teatro que se ocupa igualmente de experimentar sobre diferentes relaciones intermediales (combinación, referencialidad, entre otras operaciones) con las artes visuales, el cine, la literatura, la música y la televisión. Es el caso de Spam (2013): un hombre se encuentra solo y sin memoria en un hotel. Rodeado de cajas de muñecas parlantes y vestido con un smoking, Mario Monti piensa reconstruir su identidad a partir de los mails. Tomando en préstamo algunos procedimientos y motivos del género policial, la trama no sólo desarrolla la odisea de Monti y su con-tacto con el hampa, sino que reflexiona sobre los entornos chatarra del capitalismo contemporáneo y los usos a la vez sintomáticos y estratégicos del archivo cultural.  El presente trabajo busca articular la perspectiva intermedial y los estudios teatrales (Rajewsky, 2015; Sarrazac, 2009) con una mirada atenta a las características específicas del trabajo artístico de Rafael Spregelburd (Rodríguez Carranza, 2016; Dubatti, 2012). El propósito es analizar el diálogo del teatro con otros medios como una forma eficaz (artística y crítica) de reflexionar sobre los contornos del arte contemporáneo y, sobre todo, de indagar sobre las posibilidades de representar la historia reciente y el mundo de hoy (Bal, 2016; Pardo, 2006).

Abstract: Rafael Spregelburd is undoubtedly one of the most outstanding Argentine playwrights on the international scene, as well as one of the most productive of his generation. His work has steadily investigated the theories of the complexity and philosophy of language. It is a theatre that also concerned with experimenting on different intermediate relations (combination, referentiality, among other operations) with the visual arts, cinema, literature, music and television. This is the case of Spam (2013): A man wakes up in a hotel without memory. Surrounded by boxes of speakers dolls and dress with the tuxedo, Mario Monti plans to reconstruct his identity from the e-mail. Borrowing some procedures and motives of police genre, the plot not only develops Monti´s odyssey and his contact with the criminal underworld, but also an interesting reflection about junk environments in contemporary capitalism and, at the same time, the symptomatic and strategic use of the cultural archive. The present work seeks to articulate the intermediate perspective and theatrical studies (Rajewsky, 2015; Sarrazac, 2009) with an eye on the specific characteristics of Rafael Spregelburd’s artistic work (Rodriguez Carranza, 2016; Dubatti, 2012). The purpose is to analyze the dialogue of the theatre with other means as an effective (artistic and critical) way to reflect on the contours of contemporary art and, above all, to inquire about the possibilities of representing the recent history and the world of today (Bal, 2016; Pardo, 2006).

http://revistascientificas.filo.uba.ar/index.php/teatroxxi/article/view/8801/7627

The aim of this workshop is to discuss the relevance of an intermedial approach to the study of world cinema. We bring together scholars working in different parts of the world who have been engaged in extensive researches in the past few years that fit under the umbrella defined by these keywords and who have produced exciting new books, along with several journal issues and articles (with more on the way). Through short individual reflections and a round-table style debate, we intend not only to showcase the major findings of these researchers by summarizing the results and highlighting the specific areas that they have covered, but also to dissect key issues that have emerged through their work.
The meeting is held via Zoom.
22 June 2021, from 14.00 to 19.00 EEST
Join Zoom Meeting: https://zoom.us/j/93388080652
Meeting ID: 933 8808 0652
We welcome anyone interested in meeting us and spending an afternoon talking about these topics. Participation is free. There is no need to pre-register.

For over twenty years now, intermediality has radically transformed the ways we think about texts across media. It has introduced new synergies between disciplines, new ways of sharing and borrowing methodologically, and it has even established new lines of demarcation between academic cultures. Thus, as the journal Intermédialités/Intermediality celebrates its fifteenth anniversary, this issue charts the diversity of current conceptions of intermediality. Emphasizing the concept’s far-reaching international dimension, “Mapping (Intermediality)” focuses on the diverse institutional frameworks and methodologies that intermediality encounters as it traverses numerous academic worlds, as well as on the extraordinary variety of its objects of study. How does intermediality allow us to distinguish among academic cultures? Furthermore, is it possible to unify conceptions of intermediality based on an observation of those disciplines where it is routinely practiced, but often without much theorization (as is the case in literary studies, cinema studies, theater studies, anthropology, cultural studies, (video) game studies, etc.)? Or, rather, might it be language specificity and national research traditions, primarily, that consolidate understandings of what constitutes intermediality? What are some of the overarching concepts that emerging fields of study (in particular that of media ecology) owe to intermediality? And what is the connection between intermediality and important recent shifts in the humanities, such as the rise of digital humanities or new materialisms?

Date de soumission des propositions : 1 er mars 2017
Annonce des résultats de la sélection des propositions : 14 mars 2017 Soumission des textes complets aux fins d'évaluation : 14 juin 2017 Publication des textes retenus par le comité de rédaction : décembre 2017
Intermédialités est une revue scientifique biannuelle qui publie en français et en anglais des articles évalués de façon anonyme par les pairs. Les propositions de contribution (300 mots max.) devront être écrites en anglais ou en français, et envoyées avant le 1 er mars 2017 à la directrice du numéro thématique, à l'adresse suivante : Caroline Bem [caroline.bem@umontreal.ca] Le résultat de la sélection des propositions sera annoncé à la mi-mars 2017 et les articles seront à remettre pour le 14 juin 2017. Ils seront ensuite évalués anonymement par les pairs. Le comité de rédaction de la revue rendra sa décision finale de publication au courant de l'été. Les articles retenus seront publiés en hiver 2017.

« Les relations intermédiales entre immediacy et hypermediacy dans les bandes dessinées En segundo plano et Fallos de raccord : explorations et redéfinitions du médium », Colloque international « BD in extenso : bande dessinée et intermédialités au prisme de la culture visuelle », Université Paul-Valéry, Montpellier, 7-8/11/2017

Όταν ένας ποιητής εμπνέεται από κάποιο έργο τέχνης και γράφει σχετικά με αυτό ένα ποίημα, ουσιαστικά μεταφέρει την εικόνα σε κείμενο. Η αρχαία ρητορική, για να περιγράψει τη διεργασία αυτή, χρησιμοποιεί τον όρο έκφρασις. Κατά τον Roman Jakobson, αυτή η μεταφορά εικόνας σε κείμενο αποτελεί μάλιστα είδος μετάφρασης, που την ονομάζει διασημειωτική μετάφραση ή μεταλλαγή. Στην περίπτωση αυτή, η μετάφραση ορίζεται ως «ερμηνεία γλωσσικών σημείων με σημεία μη γλωσσικών σημειωτικών συστημάτων» και το αντίστροφο.  Προς το τέλος του σύντομου αυτού κειμένου περί μετάφρασης ο Jakobson κάνει λόγο για τη «διασημειωτική μετάθεση – από ένα σημειωτικό σύστημα σε άλλο (από τη λογοτεχνία στη μουσική, το χορό, τον κινηματογράφο ή τη ζωγραφική)» και το αντίστροφο φυσικά.
Τι συμβαίνει όμως, όταν το ίδιο το ποίημα είναι καλλιτέχνημα; Τι συμβαίνει, όταν έχουμε να κάνουμε με ποίηση υβριδική, διαμεσική ή διακαλλιτεχνική, που συνδιάζει εικόνα και κείμενο;  Και ποια ορολογία πρέπει να χρησιμοποιηθεί στην περίπτωση αυτή; […]

L’iconotexte, quand il prend la forme d’un livre, est-il intermédial ? À la mixité des codes en présence semblerait plutôt répondre l’unicité du médium livresque. Le support qu’est l’imprimé dépasse en effet l’hybridité sémiotique par son caractère synthétique, à plus forte raison s’il tire parti d’une technique qui subsume le texte et l’image. Il peut en revanche inscrire une tension entre mise en livre (de la publication à la lecture) et mise en scène (de l’exposition à l’animation), qui nécessite de reconsidérer sa médialité en fonction des modalités matérielles de sa présentation, sans présupposer de différences intrinsèques. Si l’intermédialité au sens large caractérise aussi bien des interactions en présence et en synchronie que des interactions en absence et en diachronie, elle mérite ainsi d’être interrogée à lumière de ces dispositifs iconotextuels, et du livre d’artiste en particulier.
Encadré par du texte, et composé de reproductions fragmentaires d’une marine du XIXe s. et de photographies contemporaines d’un voilier, le livre Un voyage en Mer du Nord de Marcel Broodthaers (1974) se voit augmenté, dans le cadre de son tirage de tête, d’un film muet de quatre minutes, redistribuant les mêmes images. Dans la production de l’auteur, il est du reste précédé d’un film analysant le même tableau (Analyse d’une peinture, 1973) et d’une série de quatre-vingts diapositives continuant à le décomposer (Bateau Tableau, 1973), et il sera suivi d’une installation. Il n’est donc pas anodin que Rosalind Krauss parte de cet exemple pour penser une « condition post-médiale », où l’œuvre n’est pas réduite aux propriétés matérielles de son support technique, mais où elle détermine elle-même ses différents médiums au sein d’un dispositif qui les articule, mettant en crise la spécificité du médium, qui n’est jamais que différentielle.
Mais, dans ce cas précis, c’est le continuum entre texte et images, entre peinture et photographie, voire entre le livre d’artiste et le film du même nom qui est mis en évidence, par l’alignement de l’effet folioscopique inhérent à la forme du codex avec un diaporama digne d’un « photo-roman ». Pour preuve, la préface qui défend de couper les pages de ce livre en accordéon, tel un ruban filmique. Réciproquement, outre son format et sa « reliure », les intertitres marquant sa pagination, ainsi que sa nature sérielle, statique et muette, donnent le film pour une variante du livre – une définition progressive du second épousant une acception régressive du premier. Il s’agit donc moins là de multiplier les supports et leurs interactions que de réaliser leur assimilation réciproque et de redéfinir par là les contours du livre, susceptible d’être imprimé, mais aussi exposé ou projeté.

(Colloque « Formes et (en)jeux de l’intermédialité dans l’espace européen (des origines à nos jours) », org. Patricia Viallet et Emmanuel Marigno, Université Jean Monnet, Saint Étienne, 27-28 septembre 2017).

« Dé-territorialisations, flous identitaires et frontières intermédiales dans le roman graphique galicien Ardalén de Miguelanxo Prado », Journée d’Étude « Territoire et intermédialité », Université Toulouse Jean Jaurès, Toulouse, 26/11/2015.

Connected to our new exploratory research project " Rethinking Intermediality in Contemporary Cinema: Changing Forms of In-Betweenness " funded by the UEFISCDI, and following up on the topics of our previous conferences, we would like to bring into focus the idea of " in-betweenness " set in a wider context of contemporary visual culture, and to re-evaluate its relevance regarding the state of the art in researches on intermediality. Digital media have not only prompted a reassessment of the relationship of the " old " and the " new " through their extraordinary capacity for absorption and remediation, but have literally flooded our life with their ubiquity and sheer excess. The technological convergences of devices producing and displaying media, the fusions, expansions, relocations taking place have effectively challenged our perception of media differences. If the idea of intermediality is based on the assumption of a productive interaction of media, then there should be no more pressing issue regarding intermediality studies today than fine-tuning its core concept of in-betweenness to the phenomena of the so called post-media age, in the spirit of Raymond Bellour's concept of l'entre-images (i.e. images-in-between/inter-images), in which novel forms are continuously " hollowed out from within surrounded by the new forces that irrigate it " (2012: 21). On the other hand, however, as recent theoretical approaches imply by viewing media products embedded in their palpable, real-life environment (i.e. in the dispositifs we experience them, in their phenomenology that links them to our bodies, or in their concrete, historical and socio-political context), the relevance of intermediality is not limited to what happens to media, but it extends, even more importantly, to what happens through the in-betweenness of media and what is the agency of in-betweenness in our contemporary multimedia environment. Besides the analysis of new configurations, we should also examine what is inscribed and communicated through various intermedia relations and what new types of passages are established in-between art and life, in-between the emotional, spiritual and the material, as well as the imaginary and the real, and so on. We invite proposals to unravel the complex new relationships that define our contemporary visual culture, and to map new, relevant areas of in-betweenness that may enrich our knowledge of intermediality today.

Abstract
As a form of reverse ekphrasis, a piece of music or a dance may re(-)present a literary text. This paper proposes an analysis on the measure in which the semio-narrative categories and the Greimasian actantial model are relevant for the understanding of choreographic discourse as reverse ekphrasis. In particular, the study considers choreographies inspired by literary (pre)text or pre-established narrative frames. In dance, gestural statements can be narratively semantized, caught – and thus clarified – within a story and within a constitutive aesthetics of ambiguity.
Key words: intermediality, transmediality, narrative, lyric, visual semiotics, ekphrasis, dance, literature, actor, actant, actantial structure, predicate.

Media products of all sorts form a complex web of different relationships. Media products involve transformations, integrations and combinations as well as transmedial aspects. When we look at media combinations in this chapter, all these different aspects are brought into play. Media combinations of different basic media types are always, literally, intermedial combinations that involve intermedial relations between different forms of communication.

Es difícil explicar por qué disciplinas distintas se ven atraídas por problemas similares. Las interrelaciones no siempre se explican por influencia directa. Se ha argumentado que cualquier tema de interés mutuo deriva del hecho de que las personas comparten ciertos tipos de experiencias cotidianas. Este número temático de Icono14 explora la premisa común que subyace a todas las disciplinas humanas: la confirmación de que la tecnología tiene un impacto directo en la producción, distribución y recepción de signos y, de esta forma, en todo el sistema del pensamiento humano, representación cultural y cognición. La colección examina las representaciones transmediales de avance tecnológico observando sus significaciones míticas y narrativas estratégicas. Como conocimiento práctico dedicado a la creación y utilización de herramientas y máquinas así como al desarrollo de técnicas y métodos de organización que realizan funciones específicas para facilitar la vida humana, las tecnologías del...

The thematic issue "Technopoïesis: Transmedia Mythologisation and the Unity of Knowledge", that Henry Sussman (Yale Univ.) and I have coordinated, has just been published in http://www.icono14.net/ojs/index.php/icono14 Please take a look at its interesting articles in OA, including Derrick de Kerckhove, Jeffrey Hogrefe, Luis Alberto Pérez Amezcua, Nicoleta Popa Blanariu, Cheryl De Ciantis, Mercedes Aguirre Castro, Manuel Botero, Jorge Ignacio Mora Fernández, Samuel Gil Soldevilla, Aarón Rodríguez Serrano and Juani Guerra & Svend Ostergaard. This thematic issue is framed within the Comunidad de Madrid Network (Acis-Galatea H2015/HUM-3362), coordinated by José Manuel Losada and is part of the work we do at http://www.ucm.es/siim