|Journal title||Web link||FoR code||Details (from journal website)|
|[in]Transition||http://mediacommons.futureofthebook.org/intransition/about-intransition||not listed||About [in]Transition - [in]Transition – a collaboration between MediaCommons and the Society for Cinema and Media Studies’ official publication, Cinema Journal – is the first peer-reviewed academic journal of videographic film and moving image studies. Practitioners of these forms (which include, inter alia, the ‘video essay’, ‘audiovisual essay’, and ‘visual essay’ formats) explore the ways in which digital technologies afford a new mode of carrying out and presenting film and moving image research. The full range of digital technologies now enables film and media scholars to write using the very materials that constitute their objects of study: moving images and sounds. Though a number of other outstanding sites present videographic work, none has yet received the disciplinary validation that is accorded to written scholarship. In large part, the strictures of written academic discourse pose a challenge for this nascent form of multi-media ‘writing’. [in]Transition aims to address this issue. This journal is designed not only as a means to present selected videographic work, but to create a context for understanding it – and validating it – as a new mode of scholarly writing for the discipline of cinema and media studies and related fields. This goal will be achieved through editorial curating of exemplary videographic works, through critical analysis and appreciation, pre-publication peer review and Open Peer Commentary. For the first four issues of [in]Transition, the co-editors and invited members of the editorial board will select existing videographic works to present as exemplary of the form. These issues will select and organize works thematically, around the various formal features that have already begun to take shape in videographic practice. Each selected work will be accompanied by a short critical essay that explains and justifies the work in two ways: for its creative use of multi-media tools; and for the way it creates a ‘knowledge effect’ – that is, for its impact as scholarship. The goal of these inaugural issues is to set the terms of evaluation for the future of the journal: to present selected work, and contextualize it for acceptance and validation by our discipline. [in]Transition is committed to a vigorous open peer commentary process. Registered users of MediaCommons are invited to comment on and engage in dialogue with other readers and creators about published work. This commentary is a crucial component of the disciplinary dialogue that must take place if videographic works are to be accepted as scholarship. This dialogue can serve to still further define the formal criteria we expect from distinguished videographic work. After the first four issues, [in]Transition will proceed to a more conventional process, with scholar producers submitting videographic works for peer review and publication. Submitted works are reviewed by an Associate Editors group which approves publication. Works do not need to be exclusive – that is, videographic works that have circulated elsewhere can be considered for publication in [in]Transition. Similarly, works by producers who are non-academics are welcome as well, but these will be evaluated according to the same standards of creativity and scholarship as those by academics. When a work is selected for publication, a member of the Editorial Board will pen a short critical commentary that is designed to initiate and focus the post-publication online discussion. Upon publication of a new issue, the open peer commentary process begins immediately. We invite readers to register with MediaCommons and engage with us in this stimulating and important dialogue concerning the future of the videographic critical work as a scholarly form.|
1902 Film, Television And Digital Media
2005 Literary Studies
|Adaptation is an international, peer-reviewed journal, offering academic articles, film and book reviews, including both book to screen adaptation, screen to book adaptation, popular and ‘classic’ adaptations, theatre and novel screen adaptations, television, animation, soundtracks, production issues and genres in literature on screen. Adaptation provides an international forum to theorise and interrogate the phenomenon of literature on screen from both a literary and film studies perspective.|
|Altitude||http://www.thealtitudejournal.net/about-the-journal.html||2002 Cultural Studies|
|Altitude: an e-journal of emerging humanities work is a peer reviewed journal of emerging innovative and creative work in the humanities. Altitude is committed to the democratisation of writing, research and knowledge, and to experimentation with new journal practices. It brings emerging and experienced scholars into discussion with writers and thinkers outside the academy. We use web-based open-access technologies to provide access to research (includes audio and visual material), and to extend the parameters of intellectual exchange. Altitude particularly supports early career researchers from non-English speaking backgrounds who would like to and choose to publish in English to share their research.|
|Animation Practice, Process and Production||http://www.intellectbooks.co.uk/journals/view-Journal,id=199/||1902 Film, Television And Digital Media||Animation Practice, Process & Production is a double-blind peer-reviewed journal presenting, analysing and advancing how animation is created and shown. From Pixar to Parn, Aardman to X-Men, Motion Capture to Mobile Phone, GUI to Gallery, all forms of animation will be revealed and assessed. Illustrated contributions are invited from practitioners and scholars of animation. Innovative models of critical presentation and analysis are especially encouraged. All topics engaged with the practice, process and production of animation, from a range of perspectives, will be considered.|
|Animation: an interdisciplinary journal||https://au.sagepub.com/en-gb/oce/journal/animation||1902 Film, Television And Digital Media 1203 Design Practice And Management||animation: an interdisciplinary journal provides the first cohesive international peer-reviewed publishing platform for animation that unites contributions from a wide range of research agendas and creative practice. The journal's scope is very comprehensive, yet its focus is clear and simple. The journal addresses all animation made using all known (and yet to be developed) techniques - from 16th century optical devices to contemporary digital media - revealing its implications on other forms of time-based media expression past, present and future.|
|Art Journal||http://artjournal.collegeart.org/||1901 Art Theory and Criticism |
1905 Visual Arts and Crafts
|Accepting that ideas are developed and deployed in different ways, Art Journal publishes in a wide range range of subjects, genres, and forms. These include scholarly articles, artists’ projects, interviews, portfolios, conversations, forums, speculations, pedagogical essays, working notes, and other projects. Art Journal and the Art Journal website are edited independently, so there are two paths to publication. Artists, scholars, critics, curators, and other prospective contributors who share a passionate interest in modern and contemporary art, design, pedagogy, and visual culture are encouraged to submit work to either the website or journal. CAA membership is not a requirement for publication. For questions of style for submissions to both the journal and the website, please see the Art Journal Style Guidelines. - See more at: http://artjournal.collegeart.org/?page_id=4798#sthash.v5B9Tgzw.dpuf|
|Audiovisual Thinking||http://www.audiovisualthinking.org/||not listed||Audiovisual Thinking is a leading journal of academic videos about audiovisuality, communication and media. The journal is a pioneering forum where academics and educators can articulate, conceptualize and disseminate their research about audiovisuality and audiovisual culture through the medium of video.|
International in scope and multidisciplinary in approach, the purpose of Audiovisual Thinking is to develop and promote academic thinking in and about all aspects of audiovisuality and audiovisual culture.
Advised by a board of leading academics and thinkers in the fields of audiovisuality, communication and the media, the journal seeks to set the standard for academic audiovisual essays now and in the future.
Video submissions are welcome from all fields of study and, as one would expect, the main criteria for submissions are that the discussion and thinking are conveyed through audiovisual means. Submit your video here.
|Axon: Creative Explorations||http://www.axonjournal.com.au/about-axon||1904 Performing Arts and Creative Writing 1901 Art Theory and Criticism||Axon: Creative Explorations is an international peer-reviewed journal that focuses on the characteristics of creativity and the creative process. It is published twice a year (usually in March and September) and encourages research into and discussion of the broad domain of creativity, including:|
- the methods and techniques of artists and other creative professionals
- approaches to creative-led research and the theorisation of creative practice
- the ways in which creative works are made and function
- poetics and poetry, and
- the cultural contexts and theoretical frameworks informing creative practice.
The journal is named for the axon, long extensions from the body of neurons which conduct electrical signals to synapses, thus being crucial to transmission within the nervous system. Though each axon is microscopic, when bundled together they play an important part in providing the energy, the action and the communication that make us human. We intend that Axon will operate in much the same way: providing points of connection and transmission across the creative community, providing the sparks of energy we need to keep making our work, and providing a space in which creative thought can be disseminated.
|Digital Creativity||http://www.tandfonline.com/loi/ndcr20#.VhgvqN-qpBc||08 Information and Computing Sciences|
12 Built Environment and Design
19 Studies in Creative Arts and Writing
|Digital Creativity is a major peer-reviewed journal at the intersection of the creative arts, design and digital technologies. It publishes articles of interest to those involved in the practical task and theoretical aspects of making or using digital media in creative or designerly contexts. By creative arts and design we include such disciplines as fine art, graphic design, illustration, photography, printmaking, sculpture, 3D design, interaction design, product design, service design, physical computing, computational materials, textile and fashion design, filmmaking, animation, games design, music, dance, drama, architecture, and urban design. The following list, while not exhaustive, indicates a range of topics that fall within the scope of the journal: New insights through the use of digital media in the creative process; The relationships between practice, research and technology; The relationships between practice, research and technology; The design and making of digital artefacts and environments; Interaction relationships between digital media and audience / public; Everyday experience with digital design and artwork; Aspects of digital media and storytelling; Theoretical concepts.|
|IM Journal||http://imjournal.murdoch.edu.au/||1902 Film, Television and Digital Media|
2001 Communication and Media Studies
|IM: Interactive Media is a refereed interdisciplinary electronic journal administered by the National Academy of Screen and Sound (Australia) and conceived as an interactive forum for researchers in screen and screen production. As an interdisciplinary screen journal IM sets no theoretical boundaries other than the boundaries found conveniently in the acronym of IM itself: IM. I AM. EYE AM. INTERACTIVE MEDIA. IM ’s founding theme is that, as viewing subjects, we always act as an interactive medium, as much as we are a perceiving , inscribing, recording, transforming, transmuting and a transmitting medium. The fact that the image and the eye are in place and interacting from the earliest point of human development and before words, provides the starting point for this journal. IM is particularly interested in contributions that explore intentional engagements with objects in real or imagined space, and that theorise ocular space in active, graphic and dynamic terms, be it as a landscape, screen scape, cyber space, subject space, object space, neural space, urban space, virtual space, time-space, animated space, jump–cut space, to name just a few.|
|InFormation - Nordic Journal of Art and Research||http://www.artandresearch.info||not listed||InFormation is an interdisciplinary peer-reviewed journal aimed at disseminating knowledge and experience from research and development projects based on artistic practice and reflection, art education, art theory, cultural theory and related areas.|
The journal is related to the disciplines and practices of the arts, such as music, visual arts, dance, drama and theatre, and also welcome contributions across and beyond traditional boundaries. Contexts can range from education to other institutional and social framings of art. The journal welcomes contributions in Scandinavian languages and English.
|Journal of Artistic Research||http://www.jar-online.net/index.php/pages/view/123||1905 Visual Arts and Crafts||We invite submissions to JAR from all fields and disciplines in which artistic research may be relevant, including areas that may not usually be conceived of as 'artistic'. Although the journal has emerged as a result of demand in the academic field, JAR welcomes submissions from practitioners with or without academic affiliations. The key problem for many involved in artistic research is ‘writing’ and its authority. In response to this, JAR introduces a new format for publishing artistic research, the ‘exposition’, a multi-media document that can combine and interlink text, image, film and audio material on one or more scrollable pages. Contributors compose expositions using an online editing space, the Research Catalogue, and we welcome a variety of approaches to the form, scale, number and balance of contents. That said, submissions to JAR must meet one key requirement; they must expose artistic practice as research. This process goes beyond simply documenting, describing or writing about work. It engages actively with the questions and claims about knowledge within practice. Text-centred expositions are perfectly acceptable, but JAR offers the possibility to challenge traditional modes of (critical) writing that use works as illustration and text as explanation. In this sense, ‘writing’ here is not understood as synonymous with text. All submissions to the journal need to be made through the Research Catalogue, and created using the online editing space. Submissions should be in English and there is no word limit (as contributors can expose research with more, less or no text). Instead we request that a reader/viewer of the exposition should be able to grasp the core of the research in the period of an hour of investigation. If interested in submitting, the first step is to register for an account, which is free of charge. Login details are sent by email and once received offer access to the editing space. Once logged in, an online tutorial helps to create pages, upload text, image, film and sound and combine them to make expositions. These are easily viewed as a web page and users can invite others to look at them, and collaborate with them along the way. Before embarking on a submission to the journal you should contact us by Email to see if your research is suitable. Completed expositions can be easily submitted to the journal with just two clicks from the profile page. From there they are passed to the editorial board, and if accepted, on to peer review by a minimum of three reviewers. The Peer-Reviewing Guide gives more details of how these are conducted and how submissions are assessed. We accept and review submissions as they come in, and currently publish two issues a year, in Spring and Autumn. Contact Barnaby Drabble, our managing editor, should you have any further questions.|
|Journal of Creative Technologies||https://ctechjournal.aut.ac.nz/||1902 Film, Television and Digital Media
1905 Visual Arts and Crafts
|The Journal of Creative Technologies (JCT) is an online, open access, peer-reviewed journal for the publication of research and innovation about new technologies, creative practices, and critical theories. The journal aims to explore applied, methodological and theoretical perspectives on emergent technological platforms and strategies through thematically focussed issues.|
|Journal of Creative Work||http://www.scientificjournals.org/submission_guidelines_creative_work.htm||not listed||SJI welcomes a wide variety of creative works. We only require a non-exclusive Publishing Agreement which means you can publish your work with another publisher. Each submission is reviewed by three to seven peer reviewers with final decisions reported to the author, usually within three months. If your work is accepted for publication, you will be asked to submit the License to Publishagreement along with a processing fee of $99.95. Why is this fee necessary? Please click the link General Guidelines and read the section at the end of the page titled Why We Charge a Processing Fee. Unlike some traditional and online journals, we do not charge a submission fee for reviewing a manuscript for publication consideration. The following guidelines describe our current requirements. However, we are also interested in ongoing experimentation with different modes and formats. If you have a good idea that does not fit into our current modes and formats, please let us know.|
|Journal of Film and Video||https://muse.jhu.edu/journals/journal_of_film_and_video/||1902 Film, Television and Digital Media||The Journal of Film and Video, an internationally respected forum, focuses on scholarship in the fields of film and video production, history, theory, criticism, and aesthetics. Article features include film and related media, problems of education in these fields, and the function of film and video in society. The Journal does not ascribe to any specific method but expects articles to shed light on the views and teaching of the production and study of film and video.|
|Journal of Media Practice||http://www.tandfonline.com/loi/rjmp20#.VhXODhOqqko||1902 Film Television and Digital Media||The Journal of Media Practice provides an international forum for research into and through media practice and the circulation of practice-based media / arts research. The journal adopts an inter-disciplinary approach and seeks to foster collaboration and exchanges between academic, professional and creative practitioners, including the dissemination of work funded by such partnerships. In addition, the journal will aim to contribute to the development of both integrated and diverse forms of research mediation, facilitate equitable relationships between media practice and theory and provide a critical bridge between the print journal and the development of new digital formats, including JMP Screenworks. The journal adopts an inter-disciplinary approach and seeks to foster collaboration and exchanges between academic, professional and creative practitioners, including the dissemination of work funded by such partnerships. In addition, the journal will aim to contribute to the development of both integrated and diverse forms of research mediation, facilitate equitable relationships between media practice and theory and provide a critical bridge between the print journal and the development of new digital formats, including JMP Screenworks. The journal adopts an inter-disciplinary approach and seeks to foster collaboration and exchanges between academic, professional and creative practitioners, including the dissemination of work funded by such partnerships. In addition, the journal will aim to contribute to the development of both integrated and diverse forms of research mediation, facilitate equitable relationships between media practice and theory and provide a critical bridge between the print journal and the development of new digital formats, including JMP Screenworks. Submissions are invited on all aspects of media / creative / arts practice, policy, aesthetics and pedagogy, with a particular emphasis on the future of media practice. This may include submissions relating to emerging issues, discourses, policy, education and the international geopolitics of media practice, with additional emphasis on the problems, challenges and opportunities of interdisciplinary research in the journal's related fields. How to Submit: Please send all submissions and enquiries for the editors to firstname.lastname@example.org|
|Journal of the New Media Caucus||http://median.newmediacaucus.org||not listed||Media-N, Journal of the New Media Caucus is a scholarly electronic (ISSN 1942-017X) and print journal (ISSN 2159-6891.) It is blind peer-reviewed, invitational, and open to submissions in the form of theoretical papers, reports, and reviews on new media artworks. The journal provides a forum for national and international New Media Caucus members and non-members featuring their scholarly research, artworks and projects.|
The electronic journal was established in 2005 by Rachel Clarke, who acted as Editor-in-Chief from 2005 to 2010. Pat Badani, who established the journal’s collection of mirroring print editions as well as international and cross-organizational publications, is the current Editor-in-Chief (2010-2016.) The journal is further composed of a Deputy Executive Editor, a Reviews and Reports Editor and up to 25 Associate Editors.
The mission of the electronic and print journals is to promote academic inquiry; to reflect the wide variety of themes and areas in new media research; to further the evolving discourses related to theory and practice; to showcase the work of new media artists and their presentation environments; and to investigate the issues surrounding education and new media. The journal has published articles by influential new media theorists and practitioners such as: Mark Amerika, Sarah Cook, Amy Franceschini, Lynn Hershman Leeson, Jennifer and Kevin McCoy, Ken Rinaldo, Laurence A. Rickels, Cornelia Sollfrank, and Faith Wilding.
Three editions are published per year: spring, summer and fall. Media-N works with guest editors to develop and publish thematic spring and fall editions. The summer edition is devoted to showcasing NMC‘s onsite and offsite proceedings during the College Art Association’s annual convention held in the United States. The electronic & print versions differ in format but are similar in content. The publication is freely available online, and the print version may be purchased through a print-on-demand service.
|Journal of Visual Art Practice||http://www.tandfonline.com/action/journalInformation?show=aimsScope&journalCode=rjvp20#.VlfDJYR3baY||1905 Visual Arts And Crafts||The Journal of Visual Art Practice (JVAP) is a forum of debate and inquiry for research in art. JVAP is concerned with visual art practice including the social, economic, political and cultural frames within which the formal concerns of art and visual art practice are located. The journal is concerned with research engaged in these disciplines, and with the contested ideas of knowledge formed through that research.|
JVAP welcomes submissions that explore new theories of research and practice and work on the practical and educational impact of visual arts research. JVAP recognises the diversity of research in art and visual arts, and as such, we encourage contributions from scholarly and pure research, as well as developmental, applied and pedagogical research.
In addition to established scholars, we welcome and are supportive of submissions from new contributors including doctoral researchers. We seek contributions engaged with, but not limited to, these themes:
Art, visual art and research into practitioners' methods and methodologies
Art , visual art, big data, technology, and social change
Art, visual art, and urban planning
Art, visual art, ethics and the public sphere
Art, visual art, representations and translation
Art, visual art, and philosophy
Art, visual art, methods, histories and beliefs
Art, visual art, neuroscience and the social brain
Art, visual art, and economics
Art, visual art, politics and power
Art, visual art, vision and visuality
Art, visual art, and social practice
Art, visual art, and the methodology of arts based research
Articles published in JVAP are subject to double-blind peer review. In some cases, however, articles involve the work of practitioners writing about their own practice, making anonymity impossible. In these cases, two members of the Editorial Board review the articles. Additionally, JVAP publishes special issues with Guest Editors. For these issues, the Editor and the Special Issue Editor manage the double-blind peer review process.
|Leonardo (Arts, Science, Technology)||http://www.leonardo.info/isast/isastinfo.html||1902 Film, Television and Digital Media||Overview: Leonardo/The International Society for the Arts, Sciences and Technology (Leonardo/ISAST) is a nonprofit organization that serves the global network of distinguished scholars, artists, scientists, researchers and thinkers through our programs focused on interdisciplinary work, creative output and innovation. From its beginnings, Leonardo/ISAST has served as THE virtual community for purposes of networking, resource-sharing, best practices, research and events in Art/Science/Technology.|
Leonardo serves as critical content provider through our Publications Program -- scholarly journals published by MIT Press (Leonardo and LMJ), the Leonardo Book Series (MIT Press), as well as the Leonardo family of websites and experimental projects on evolving digital platforms.
Through our Engagement Programs, we connect with the community through Art/Science/ Technology initiatives, ranging from workshops and events such as the popular LASER (Leonardo Art Science Evening Rendezvous) series to programs for educators and students. Our Affiliates are our key partners in these activities. (See our Programs page for more detail on programs and projects.)
|MINA (Mobile Innovation Network Australasia)||http://mina.pro/||no listed|
|New Cinemas: Journal of Contemporary Film||http://www.intellectbooks.co.uk/journals/view-Journal,id=129/||1902-Film Television and Digital Media||The journal aims to provide a platform for the study of new forms of cinematic practice and fresh approaches to cinemas hitherto neglected in western scholarship. It particularly welcomes scholarship that does not take existing paradigms and theoretical conceptualisations as given; rather, it anticipates submissions that are refreshing in approach and exhibit a willingness to tackle cinematic practices that are still in the process of development into something new.|
|New Scholar||http://www.newscholar.org.au/index.php/ns/index||1999 Other Studies in Creative Arts and Writing
2005 Literary Studies
|New Scholar is now accepting audio essays, visual essays and audio-visual essays. Audio essays should be submitted as an MP3 file and should be no longer than 20 minutes in duration. Audio-visual essays should be submitted as an MP4 file and should be no longer than 20 minutes in duration. Visual essays should be submitted in PDF format and should be 10-15 pages long. Individual creative interpretation of each submission category is welcomed, but submissions should be scholarly in tenor.|
|New Writing - The International Journal for the Practice and Theory of Creative Writing||http://www.newwriting.org.uk/||1302 Curriculum and Pedagogy|
1904 Performing Arts and Creative Writing
2005 Literary Studies
|New Writing publishes both critical and creative work – offering a forum for debate, as well as an avenue for the publication of the best stories, poems, creative non-fiction and works for the stage or for the screen – in all their contemporary varieties. The journal provides an international forum and an opportunity, through worldwide distribution, to reach engaged audiences. Published in paper and electronically, New Writing has an active interest in recognition of its authors through formal citation that supports creative writers who work in universities and colleges, through conferences, global video-linked symposia, special journal highlights, literary events (including the annual New Writing International Creative Writing presentation), and through the professional and creative services of Taylor & Francis.|
Articles submitted for publication may focus on:
• Creative Writing in universities and colleges
• pedagogy, practice and research
• the processes of creative writers, their drafts and completed works
• the history of particular writing forms
• analysis of particular creative works
In addition to scholarly articles, New Writing publishes:
• stories, poems, works of creative non-fiction, novel extracts, writing for the stage or for the screen, and other creative pieces
• extracts from works in progress and discussions about themes and subjects
• critical work in the field of creative exposition, where a creative writer’s method, background or writerly knowledge is explored
• interviews with creative writers, publishers, editors, designers, booksellers
• explorations of teaching Creative Writing in different contexts (e.g. in high schools or in the community)
The New Writing Board is international and includes, among others, Andrew Motion (UK), Paul Muldoon (USA), Jon Cook (UK), Jeri Kroll (Australia), Nessa O'Mahony (Ireland), Katharine Coles (USA), Stephen Muecke (Australia) and Robert Pinsky (USA).
The Editor and Editorial Board invite submissions of critical articles and creative work in any of the areas mentioned above, and in all genres.
Peer Review Policy
All submissions to New Writing are subject to double blind peer review, in most cases by two reviewers.
|NMEDIAC||http://www.ibiblio.org/nmediac/||1902 Film, Television and Digital Media|
2001 Communication and Media Studies
2002 Cultural Studies
|NMEDIAC has adopted the mission of publishing peer-reviewed papers and audiovisual pieces which contextualize encoding/decoding environments and the discourses, ideologies, and human experiences/uses of new media apparatuses. In relation to previous work, NMEDIAC will provide an intellectual canvas where the cultural spaces and experiences of new media are theorized and rigorously explored within both global and local contingencies of the present and past. In particular, we will publish articles that take critial/cultural approaches to analyzing new media.|
In addition to publishing scholarly articles that address the theme of new media & culture, NMEDIAC will also solicit and publish audiovisual new media art and presentations. Some of these pieces will incorporate scholarly analysis, but others will 'stand alone' as expressions that contextualize and comment on general or specific themes and issues that new media technologies bring us up against -- such as new media as experienced culture.
|Participations: journal of audience and reception studies||http://www.participations.org/index.htm||1608 Sociology 1902 Film, Television And Digital Media 2002 Cultural Studies||The purpose of Participations has always been, and continues to be, to provide a focal point – a coming-together-place – for all kinds of work under the general and generously understood heading of "audience and reception studies". The Journal aims to include and embrace work across all fields of media and culture, from a wide range of theoretical and methodological bases, giving space to a full range of questions and debates. But – and it is an important qualification – coming together is not possible without recognising that audience and reception research has some distinctive, and even problematic histories. In talking to each other, in sharing our research and learning from each other, certain requirements are generated.|
|SCAN Journal of Media, Arts, Culture||http://scan.net.au/scn/journal.html||1902 Film Television and Digial Media||Scan is an online journal, magazine and gallery, devoted to the media arts and culture, hosted by the Department of Media, Music, Communication and Cultural Studies at Macquarie University, Sydney.|
The journal is refereed (ISSN 1449-1818), concerned with both the aesthetics and political economy of media arts, as practised in both new and traditional forms. The magazine contains non-refereed, informal pieces on media arts and related culture. The gallery contains online and digital art works.
The approach of both the journal and magazine is inter-disciplinary, drawing on media studies, cultural studies, media law, information and technology studies, fine arts and philosophy. Scan considers developments in network culture, digital media, screen arts, digital art, music and audio arts, as well as the culture enveloping these practices and technologies.
Scan has recently been redesigned and older content has not yet been migrated. For the time being please use the link to the pre-2012 archive until all content has been moved across.
|Screenworks||http://screenworks.org.uk/||not listed||Screenworks publishes practice research that produces new knowledge in Communication, Media and Cultural Studies, Art and Design, Performing Arts and related fields. We offer a forum for the dissemination and discussion of practice research that includes space for reflection on research contexts. Work is published alongside a research statement, which offers a ‘route map’ of the research process, together with two anonymous reviews, which provide critical feedback on both the work itself and its research context. What is unique about Screenworks is that the work is subject to academic peer review, just as an academic journal article would be, thus providing evidence of the impact, significance, originality and rigour of the practice as research. In addition we operate an open review policy, where peer reviews are published alongside the research statement so that the review process is transparent. Our intention is to create a supportive, yet rigourous research environment for the academic community researching screen media through practice, whilst at the same time engaging with wider audiences.|
|Sensate Journal||http://sensatejournal.com/||not listed||Welcome to Sensate, a peer-reviewed, open-access, media-based journal for the creation, presentation, and critique of innovative projects in the arts, humanities, and sciences. Our mission is to provide a scholarly and artistic forum for experiments in critical media practices that expand academic discourse by taking us beyond the margins of the printed page. Fundamental to this expansion is a re-imagining of what constitutes a work of scholarship or art. To that end, Sensate accepts and encourages non-traditional submissions such as audiovisual ethnographic research, multimedia mash-ups, experiments in media archaeology, time-based media, participatory media projects, or digitized collections of archival media, artifacts, or maps. Sensate accepts submissions of finished projects, proposals, and reviews of works (monographs, films, exhibitions, etc). As an issueless journal, Sensate avoids the rigid structures of chronology and provides readers with the opportunity to explore the content in networked and associative ways, offering a rich, intuitive experience. Users can sort the content by clicking on the media icons, selecting one of our Special Collections (curated by Guest Editors), or through advanced search queries. All works featured in Sensate are published under a Creative Commons 3.0 Attribution license.|
|Studies in Australasian Cinema||http://www.tandfonline.com/action/journalInformation?show=aimsScope&journalCode=rsau20#.Vle7SYR3ba4||1902 Film, Television and Digital Media||Studies in Australasian Cinema is a scholarly journal devoted to the screen cultures of, and film scholarship from, the Australian, New Zealand, and Pacific region. The journal features academic articles focusing on current and historical trends, representations, themes, styles, debates and scholarly work from across the region's rich cinema culture. In doing so, Studies in Australasian Cinema asks: What shapes, and has shaped the contemporary filmmaking landscape and screen cultures in the region? What theoretical and critical discussions of cinema and associated formats are, and have been in the past, the most visible in Australasia? What policies, practices, modalities and technologies define Australasian cinema and associated imagemaking? |
Topics on any aspect of the above might include, but are not limited to:
Cinema and postcolonialism
Australasian independent film-making and films/television
Australasian global commercial film-making and films
The representation of the region, specific countries, cultures and its peoples in global cinema, and other national screen cultures
The local and international work of Australasian writers, directors, and actors
Reception of Australasian films in the region and around the world – Reception
of global films in Australasia
Past and present cinema audiences – New approaches to Australasian film history
Australasian film theory
The teaching of film and screen culture in Australasia, including screen production
Short films, Government film-making, Experimental film and Amateur film making
|Studies in Material Thinking||https://www.materialthinking.org||19 Studies in Creative Arts and Writing |
12 Built Environment and Design
|Studies in Material Thinking is a peer-reviewed international journal reporting on the work of artists, designers and writers. It is a vehicle to support the communication and critique of research and making from the vantage point of both the materiality and the poetics of artistic and design practices. The journal aims to develop a series of divergent positions, critical approaches and contestations around the term ‘material thinking’, centred as it is on an understanding of making, invention, design, creative practice and research methodology.|
SMT is a research communication platform in the Faculty of Design and Creative Technologies, Auckland University of Technology
|Studio Research Journal||http://studioresearch.com.au/wp/||1905 Visual Arts and Crafts
1902 Film, Television and Digital Media
|We invite original submissions from visual artists, filmmakers, and designers who wish to contribute to the ongoing debate about research in the arts, and reflect on artistic practice, processes, and research.|
We welcome submissions at any time.
Download CFP http://studioresearch.com.au/wp/wp-content/uploads/2015/05/STUDIO_RES_call_for_papers.pdf
|Text||http://www.textjournal.com.au/||1904 Performing Arts and Creative Writing||TEXT is an international peer reviewed journal published by the Australasian Association of Writing Programs. TEXT publishes academic and other material concerned with creative and professional writing programs in universities, colleges, TAFEs and the community around Australia, United States, Canada, New Zealand, England, and from other English-speaking areas and programs.|
TEXT includes research articles on creative and professional writing and processes, the teaching of writing, and allied topics. TEXT also includes creative work, book reviews, letters and notices. TEXT occasionally publishes specific-topic collections or longer works in its Special Issue Series.
Regarding creative work, TEXT considers contributions of stories, poetry, memoir, etc providing that the matter of the creative work concerns exploration of creativity, or the nature and processes of writing, or the nature and processes of the teaching of writing, or investigation of writers' issues, lifestyles, or such like.
For information please contact the editors at email@example.com
All submissions are electronic and should be sent via email attachments to firstname.lastname@example.org
TEXT accepts material throughout the year.
|Transformations journal of media, culture and technology||http://www.transformationsjournal.org/||Multidisciplinary (included in the 2015 ERA journals list)||Transformations is an independent, double-blind peer-reviewed electronic journal addressing the transformative processes of new technologies and mediating practices that change the way we think, feel and interact with others both in a contemporary and historical sense. Each year the journal publishes up to two “themed” issues, focusing on a particular concept, writer or issue emerging from contemporary theory and practice. The journal welcomes writing from the perspective of cultural theory, critical philosophy, aesthetics, media studies and other humanities approaches: prospective authors should view the “author information” section of this website for guidelines on submissions.|
|Unlikely – Journal for Creative Arts||http://unlikely.net.au/about||not listed||Unlikely is a transdisciplinary journal, which aims to open unexpected spaces for artistic exchange and scholarly conversations across mediums, disciplines and continents. An experiment in form, Unlikely engages its audience and contributors in a two-stage process of live event, presenting creative practitioners’ works, followed by peer-reviewed electronic publication.|
|VIEW Journal of European Television History and Culture||http://viewjournal.eu/index.php/view||not listed||Journal of European Television History and Culture is the first peer-reviewed, multi-media and open access e-journal in the field of European television history and culture. It offers an international platform for outstanding academic research and archival reflection on television as an important part of European cultural heritage. With its interdisciplinary profile, the journal is open to many disciplinary perspectives on European television – including television history, media studies, media sociology, cultural studies and television studies.|