Submission Preparation Checklist
As part of the submission process, authors are required to check off their submission's compliance with all of the following items, and submissions may be returned to authors that do not adhere to these guidelines.
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• The submission has not been previously published, nor is it before another journal for consideration (or an explanation has been provided in Comments to the Editor).
• The submission file is in OpenOffice, Microsoft Word, or RTF document file format.
• Where available, URLs for the references have been provided.
• The text is single-spaced; uses a 12-point font; employs italics, rather than underlining (except with URL addresses); and all illustrations, figures, and tables are placed within the text at the appropriate points, rather than at the end.
• The text adheres to the stylistic and bibliographic requirements outlined in the Author Guidelines, which can be found on the information page of the journal.
Author Guidelines
For each issue, the journal proposes a Call for papers inviting scholars, artists and researchers to send original contributions that will be selected by double-blind peer-review.
The proposal must be sent to rivistaconnessioni.remote@gmail.com in the form of an abstract (in Italian or English) with a maximum of 2000 characters, 4-5 keywords and a brief bio, specifying in the subject: "Proposal for publication" or "Article Submission".
If accepted, the full article (30000 - 40000 characters max., spaces included), edited following Connessioni Remote template along with the article abstract both in Italian and in English (max. 200 words), 4-5 key words both in Italian and in English and a short author's biography-cv both in Italian and in English (max. 200 words), has to be sent through the journal online platform subject to registration at the following link:
https://riviste.unimi.it/index.php/connessioniremote/user/register
STYLE GUIDE AND TEMPLATE FOR THE FULL ARTICLE
NORME (ITA), TEMPLATE (ITA)
STYLE GUIDE (ENG), TEMPLATE (ENG)
It is also possible to send a free contribution, outside the call, specifying the reference section; you need to send an abstract (English and Italian) accompanied by a short biography; the material will be examined by the editorial board only. In case of a proposal for an "artistic tribute" (Art is useless as a knotted straw), a short descriptive card is required and an image in jpg format (72 dpi).
Please note that due to the limitation of the platform, your multimedia supports cannot be uploaded to the magazine's website; they could be accessible externally with a link: we ask to share the work in advance on a video platform (so as it could be "embed it") or on a personal website. Do not send video material. The editorial staff, upon receipt of the contribution, will evaluate whether to accept, propose to modify or reject the text or contribution on the basis of consistency with the focus of the magazine. It will be possible to add photographs with CC license. Alternatively, it will be possible to have a single link if the author decides to upload all the photos in a personal site or in hosting sites images such as https://imgur.com/.
All contributions, even those outside peer review, have to follow the journal style guide and be drafted following the template (link above)
Saggi per la call-sezione sottoposta a peer review
Lo spettacolo tecnologico ha già una storia ultra quarantennale.
I pionieri di questo “nuovo teatro” ci hanno insegnato che il connubio con la tecnologia funziona a patto che sia l’arte a guidare, e non viceversa, e ci hanno mostrato, nella pratica e nelle teorie, come la forza della scena intrecciata coi media risieda nel progetto, nella scrittura e nelle idee, prima ancora che nella tecnica.
Una parte di quel mondo non c’è più, alcuni artisti ci hanno lasciato, molte di quelle macchine sono in soffitta: un nuovo spettacolo si presenta oggi all’orizzonte, invaghito dal richiamo dell’algoritmo.
Ma quale sarà il volto della nuova scena tecnoartistica e tecnoteatrale?
Di che natura la “reinvenzione” teatrale?
Quali le tematiche e i volti del nuovo tecnoattivismo?
Quali i nuovi paradigmi estetici della creazione interattiva e virtuale?
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