Since their invention, forms of media have attracted a range of different analytical approaches. One of the more prominent areas of interest to journalists, sociologists, neuroscientists, and philosophers alike has been a concern about the ways audiovisual recording and broadcasting techniques imprint messages and ideas onto the brain. In Lessons for a Phenomenology of the Intimate Consciousness of Time (1928), Edmund Husserl considers that our knowledge of things comes from our ability to bring together several memory dimensions, be they mnemic and unconscious traces of our perceptions that orient our apprehension (moment lived), or our consciously solicited memories that preserve their unity in time. Husserl differentiates the primary retentions generated by any act of consciousness from those that our consciousness targets as a reminder of the past (secondary retention). In Technics and Time (2001, v. 3), Bernard Stiegler emphasizes the specific tertiary retentions that are „temporal objects“ and ascribes them with the power to change our memory capabilities. There are, as a result, a number of different theories (Ginsburg, 2002; Wills, 2008; Besnier, 2009) that attempt to understand the impact of temporal objects on the ways in which we make a selection among our primary retentions in order to constitute a memory (secondary retention), but also to understand the influence of temporal objects on the set of selection criteria that we use (we can think of the notion of „wanting horizon“ in the work of Jauss, 1969). It therefore is necessary to develop new approaches that question the influence of recording and storage technologies on our cultural and cognitive structures by engaging with theories from a number of established disciplines: the clinical study of memory pathologies, the observation of user behaviour, and an analysis of the works covered by these questions. This effort must also consider the developments brought forth by digital technologies.

This issue of the journal Intermédialités/Intermediality will bring together texts on the various impacts that forms of tertiary retention have upon our memory, our modes of perception, and our cultural structures. Our aim is to critically challenge attempts that seek to homogenize media as being all and the same and to develop a common conceptual vocabulary. You will find below some „jumping off points,“ which serve as an invitation to consider the singularity of the temporal objects in spite of their technical supports; the contextual differences of cultural, economic, and political order; and the interactions between different media forms. These include:

• Descriptions of the different types of materialities, institutions, and techniques involved in the production and circulation of temporal objects. We are interested in the work of scholars who take a wide range of approaches, including historical accounts (of material culture, cultural anthropology, media archeology) or institutional studies that cover matters of accessibility, usage, and integration in the process of memorization.
• Explorations of the influence of audio and/or visual recording on artistic or cultural practices. We are interested in studies that outline new aesthetic concerns inherited from the audiovisual sphere and which discuss new modalities of reception that arise from the intersection of technologies and live performances made possible by new devices.
• Studies that reflect on the ways in which the distribution of texts, sounds, and images impacts our flows of consciousness or that speculate about the influence of audiovisual work on our perception of things, possibly altering memory or constructing new points of view (cliché, awareness, etc.).
• Assessments of the impact of programs (websites, applications, algorithms, etc.) on our spatio- temporal conceptions.
• Considerations of: no memory without emotions or affects associated with our perceptions and our representations; no memory without emotions or rekindled affects. Do the objectified emotions and affects that are incorporated in recorded temporal objects and associated with tertiary retentions, transform the memory processes involved in a lived moment, like our ability to be stirred by emotions?

Bibliography

• David Barison & Daniel Ross, The Ister (2004, 189′).
• Jean-Michel Besnier, Demain les posthumains, Paris, Hachette, 2009.
• Faye Ginsburg, Lila Abu-Lughod & Brian Larkin (eds), Media Worlds: Anthropology on New Terrain, Berkeley, University of California Press, 2002.
• Edmund Husserl, The phenomenology of internal time-consciousness[1928], Bloomington, Indiana University Press, 1964.
• Hans Robert Jauss, Toward an aesthetic of reception [1977], Minneapolis, University of Minnesota Press, 1982.
• Bernard Stiegler, Technics and time [1994-2001], Stanford, Stanford University Press, 1998-2009. David Wills, Dorsality: Thinking Back through Technology and Politics, Minneapolis, University of Minnesota Press, 2008.
• Paul Zumthor, „Oralité“, Intermédialités, n° 12, Fall 2008.

Deadline for submitting a proposal: January 5, 2018
Announcement of proposal selection results: January 20, 2018
Submission of completed texts for peer review: June 30, 2018
Publication of the texts approved by the editorial board: March 2019

Intermédialités/Intermediality is a biannual journal, which publishes articles in French and English evaluated through a blind peer review process. Proposals (max. 700 words) in English or French should be sent to the following email: restituerletemps@gmail.com. Final submissions should be no longer than 6,000 words (40,000 characters, including spaces) and can incorporate illustrations (audio, visual, still or animated) whose publication rights should be secured by the authors. Authors are requested to follow the submission guidelines available at: http://cri.histart.umontreal.ca/cri/fr/intermedialites/submission-guidelines.pdf. For more information on Intermédialités/Intermedialities, see our website: http://intermedialites.com.