Submissions

Name;

Institutional affiliation;

E-mail contact;

ORCID.

The title should appear in capital letters, in English and, if written in this idiom, in Portuguese. Articles and research notes must be accompanied by a summary in English and, if written in this idiom, in Portuguese (150 words each in a single paragraph). Up to 5 keywords should be given in the respective languages of the abstracts.

Articles written in English only need an abstract and keywords in English.
Keywords capitalized and separated by | , such as: Contemporary art | 20th century | Paintings.

Application: Microsoft Office Word

Font: Times New Roman – size 12

Title: Capital letters

Footnotes: Automatic numbering - letter size 10

Line spacing: 1,5

Paragraphs: Left alignment, spaced 12 pt (after).
Abbreviations are defined at their first mention in text (non-standard or uncommon abbreviations should be avoided in the abstract).
Acknowledgments are in a separate section at the end of the manuscript before the references list.

Title Level 1:
Ex:   VIDEO FLOW: THE UNSTABLE IMAGE (Letter size 12, bold, centered.)

Title Level 2:
Ex:   VIDEO FLOW: THE UNSTABLE IMAGE (Capital letter, size 10, bold, centered)

Title Level 3:
Ex:   Potential differences: between latency and virtuality (Lowercase, size 12, bold, centered)

Title Level 4:
Ex:   Potential differences: between latency and virtuality (Lowercase, size 10, bold, centered)

The bibliographic citation system followed is exclusively the author-date plus, where applicable, the name of the page. For example: (Silva, 2000: 34-36) or (Mark; Horta, 2011: 54-55), in the case of a work of two authors. If there are more than two authors, it is used "et al.": (Soares et al, 2012: 283). If more than one work by the same author was published in the same year, a letter should be added, sequentially, ahead of the year. Example: "1993a", "1993b".

The references are listed at the end of the text, following the indications of the Chicago bibliographic style guide on www.chicagomanualofstyle.org, with some limited adjustments. The bibliographic list will be presented sequentially, in order of the last name of the authors. In the case of several references for each author, the order is chronological, appearing first the latest work. The following entries by the same author should have the name for ten consecutive traces of hyphen. I.e.: “__________– Title”.
A complete bibliographical list is to be included at the end of the text, in alphabetical order. Only publications that have been used and are cited along the text are to be listed.
All cited works with a Digital Object Identifier (DOI) must include the latter at the end of the respective bibliographic reference listing.
The letter must be in size 11 (one point below the letter of the text) and have the following spacing: 12 pt (after) and single-line spacing.
As a template, the consultation of papers formerly published by the journal is suggested.

Some examples:

Monographs:
NETO, Maria João – James Murphy e o Restauro do Mosteiro de Santa Maria da Vitória no Século XIX. Lisboa: Editorial Estampa, 1997.

SOARES, Clara Moura; DIONÍSIO, Amélia Rangel – A Igreja de Santa Engrácia no Campo de Santa Clara: Os tempos do lugar. Lisboa: Caleidoscópio, 2019.

Chapters in monographs:
SERRÃO, Vítor – “Tendências da pintura portuguesa na segunda metade do século XVII (entre Avelar Rebelo, Bento Coelho e os focos regionais)”. SOBRAL, Luís de Moura (ed.) – Bento Coelho 1620-1708 e a Cultura do seu Tempo. Lisboa: Instituto Português do Património Arquitectónico, 1998, pp. 41-65.

Articles in scientific journals:
VALE, Teresa Leonor – “Les acquisitions d’oeuvres d’art du premier marquis de Fronteira, João de Mascarenhas (1633-1670), pour sa demeure des environs de Lisbonne”. Studiolo, 8 (2010), 89-102.

Proceedings:
SANTOS, Joaquim Rodrigues dos – "On the trail of Baltazar Castro, a Portuguese restorer in India". EAHN 2015 Belgrade: Entangled Histories, Multiple Geographies. Belgrade: University of Belgrade - Faculty of Architecture, 2015, pp. 244-253.

Academic works:
AFONSO, Luís Urbano – A Pintura mural portuguesa entre o Gótico internacional e o fim do Renascimento: formas significados, funções. Lisboa: Universidade de Lisboa, 2006. 3 Vols. (PhD thesis), In: Internet link (Access: 10 October 2019).

Manuscript sources:
The first time that the name of the historic archive appears, it must be written his full name followed by the acronym. From the next time, only the abbreviations are used. Example:

Arquivo Nacional da Torre do Tombo (ANTT), Chancelaria de D. João V, Livro 135, fl. 213-213v.

Internet References:
SOARES, Clara Moura et al. – “Conservação e destruição de pinturas dos conventos extintos em Portugal durante o século XIX”. ECR, 4 (2012) 232-248. In: http://revistas.rcaap.pt/ecr/article/view/3095/2494 (Access: 06 October 2013).

References to Internet Links:
Always referred in the footnotes, not in the text. It is unnecessary to list the internet links in the final bibliography. Examples:

Az Infinitum – Azulejo Indexation and Referencing System. In: http://redeazulejo.fl.ul.pt/pesquisa-az  (Access: 20 May 2015);

‘Azurite’, Cameo, Museum of Fine Arts, Boston. In: http://cameo.mfa.org/wiki/Azurite  (Access: 13 July 2013).

The number of figures in each article can be a maximum of once every 500 words.  A text with 5000 words, for example, cannot have more than 10 images.

Each table is included in the text and counts as an image. It is recommended that the size of each table does not exceed one page of the journal.

The figures should be provided in digital format (jpg or tif) at 300 dpi (minimum), duly numbered and labelled.

The text must include the identification of each picture within the article (Fig. 01; Fig. 02; etc.) and a list of all pictures at the end. Example:

Fig. 01. Calix, 1727-1729, Giovanni Francesco Arrighi (1646-1730); vermeil; 28x16x9 cm; Museum of S. Roque, Lisbon (photo by Júlio Marques, Santa Casa da Misericórdia de Lisboa).

Examples of identification of images or tables in the body of the text:

(Fig. 01); (Figs. 01, 02); (Table 01); (Tables 01, 02).

It is the responsibility of each author to get permission to publish all figures in ARTis ON. Thus, it is the responsibility of the authors to obtain the respective authorization and any costs involved in this consent. Credits must be provided for each figure as follows: author, date, copyright.

Proposals must be submitted exclusively through the ARTis ON website:

https://artis-on.letras.ulisboa.pt/index.php/aio/submission/wizard

IDENTIFICATION OF AUTHOR(S). The author’s identification must be made exclusively on the first text leaf, after the title, indicating successively: name, academic affiliation, and e-mail address. In order to ensure a blind-review process, all direct and indirect information about the author.

For example, expressions like "As mentioned in a previous study (Silva, 2000), we consider that ...", or that the name of the study’s author can be displayed as the author of photographs included in the submitted work.

As part of the submission process, authors are required to check the conformity of the submission in relation to all of the following listed items. Submissions that do not comply with the rules will be returned to authors.