[…] is the title of the journal / online platform. In part, […] denotes a grammatical convention used to signal omitted elements from a text. As a title, […] is unpronounceable, resists being easily saved as a file or turned into a URL. But it is precisely for these deviant features that […] (with no prefix or suffix) works as an appropriate title for the project. […] can be productively thought as a placeholder for that which is missing, omitted, forgotten or to come.

How do we know what we know? What discourses, paradigms, tropes or structures shape or censor different kinds of knowledge production? […] implicitly asks these questions from the perspective of a range of practices, process and tactics that deviate from conventional, analytical and rational modes of meaning making. […] is an experiment with form. It is a project that prioritizes sonic, visual, oral, performative, visceral, embodied, spatial and temporal forms of practice that are critical and invested with the questioning of how knowledge is produced and what the relevance of this knowledge is.

[…] is not a project to simply show works of art, theatre, performance, music etc. It is a re-coding of in terms of the structures and constraints provided by the internet. In this sense it is not a matter of representation, but of performatively articulating a version of the work for the peculiarities of the medium. In this sense, the shortfall between the potential liveness of the work and its design as a web page is imagined not only as lack or lag, but as a moment to think the work anew.[…] is a challenge aimed at multiple targets. On the one hand it is a challenge to the knowledge economy of universities, accredited journals and the structures that come with this. On the other hand, it is a challenge to economies predicated on the sale of creative production through galleries and box offices, etc. Both academic and commercial economies, while supposedly different, do shape or manipulate what kinds of aesthetic or academic projects sink or swim. They produce paradigms that gate keep, as they make assessments of legitimacy, value and viability. […] is critically embedded within both these economies.[…] aims to critically engage with these important questions of how the aesthetic is complicit or imbricated within the various machinations of knowledge economies. As such it should become a platform that is able to change and morph to take on specific conceptual, formal and theoretical concerns at different times and in terms of changing contingencies.

The first issue of […] is marked by a process both pragmatic and speculative and is product of grant money from WITS University’s SPARC fund, and as such was designed to function as an accredited journal located within the WITS School of Arts (WSOA). The second issue of […] and four that follow are to be supported by the The Andrew W. Mellon Foundation via a grant to develop creative research in the WSOA.

EDITORIAL BOARD (final constitution pending)


Wits School of the Arts Members:

Prof. Brett Pyper is Head of the Wits School of the Arts …

Prof. Christo Doherty is Deputy Head of research at the Wits School of Arts …

Zen Marie founder of the […] Ellipses Journal in 2015 …

Bettina Malcomess is a writer, academic and artist. Her work exists in a diverse set of media and forms, ranging from long duration performance, to the staging of shorter interventions, and installation projects to the book as site of practice. She produces performances under the name Anne Historical. Malcomess’ writing traverses art, film, history, urbanism, as well as fiction. She co-authored the book Not No Place. Johannesburg, Fragments of Spaces and Times (Jacana, 2013). She was the visual editor of the book Routes and Rites to the City: Mobility, Diversity and Religious Space in Johannesburg (Palgrave, 2017). She has recently formed an interdisciplinary project called the joining rooma non|space for intermedial intimacies. Historical/Malcomess’ work has shown at various national and international exhibitions and spaces. She is a lecturer in Visual Arts at Wits School of Arts and is currently doing a PhD in Film Studies at Kings College, London.

Regional Members:

Molemo Moiloa lives and works in Johannesburg, and has worked in various capacities at the intersection of creative practice and community organising. Molemo’s academic work has most recently focused on the political subjectivities of South African youth. She is also one half of the artist collaborative MADEYOULOOK, who explore everyday popular imaginaries and their modalities for knowledge production. Moiloa is currently deputy director of the forthcoming Joburg Contemporary Art Foundation. She was previously Director of the Visual Arts Network of South Africa (VANSA). Before that, she has worked within the Market Photo Workshop, the Social Anthropology department at the University of the Witwatersrand, and in a freelance capacity on a wide range of creative initiatives. Molemo has both a BA Fine Arts (cum laude) and MA Social Anthropology (cum laude) degree from WITS.

James Macdonald is the Curatorial and Research Manager at the Visual Identities in Art and Design Research Centre (VIAD), University of Johannesburg. In that capacity he is currently facilitating a number of long-term research platforms and exhibition projects, in conversation with local and international scholars and curators. In addition to these and other research-related projects, he has curated two print-related exhibitions at the Iziko South African National Gallery, and was co-curator for the 2017 and 2018 ICA Live Art Festivals, Cape Town.

International Members:

Reece Auguste Assistant Professor, University of Boulder in Colorado (USA). He is a documentary filmmaker and scholar whose research focuses on national cinemas, transnational screen cultures and documentary media practices. He was a co-founder of the seminal Black Audio Film Collective, which was at the forefront of radical filmmaking in ‘80s and ‘90s Britain. With BAFC, Auguste wrote and directed the award winning Twilight City and Mysteries of July. His essays on screen aesthetics and documentary practices have appeared in Framework, Cineaction, Undercut, Journal of Media Practice, The British Avant-Garde Film 1926-1995, Questions of Third Cinema, Dark Eros, The Encyclopedia of Southern Culture: Media and The Ghosts of Songs: The Film Art of the Black Audio Film Collective. He is the recipient of the Grand Prize at Melbourne International Film Festival; Josef Von Sternberg Award, for most original film of the Mannheim International Film Festival, Golden Hugo Award for best Documentary at the Chicago International Film Festival, and the International Documentary Association.

Marc Garrett is co-director and co-founder with artist Ruth Catlow of Furtherfield. Also co-founder and co-curator/director of the gallery space formerly known as ‘HTTP Gallery’ now called the Furtherfield Gallery in Finsbury Park and the Furtherfield Commons lab, in London, UK. Co-curating various contemporary Media Arts exhibitions, projects nationally and internationally. Writing the last year of his PhD at Birkbeck University, London, and recently co-editor of Artists RE:Thinking the BLockchain.

George Shire is a London based, Zimbabwean cultural theorist, self styled Bandungist and historian of ideas who has been engaged with questions of knowledge from the global south, with visual culture and decolonisation, and with tracking histories of art education in Southern Africa. His intellectual interests are moored inside the cultural studies tradition set out by Stuart Hall. His research interests are primarily in the intersections of artistic and political practice; working at the intersection of black studies, the place of colonialism in the making of modernity, and the material and technical politics of the Indian ocean. He is a member of the international editorial boards of the British New Left Journal “Soundings” and the peer reviewed journal DarkMatter. He previously taught at the Richmond Upon Thames College, London; the Open University; Central Saint Martin’s College of Art & Design, University of the Arts London; and Birkbeck College, University of London. He is a DJ, Jazz Saxophone player and I-Phone Photographer.

Gary Stewart has been involved in pioneering electronic media projects around the world as an artist, producer and curator for almost three decades. The projects explore social and political issues through interrogating the relationship between culture, technology and creativity, particularly those models of practice that are investigating the capacity of digital arts to create active citizenship. Between 1995-2010 he was Head of New Media at Iniva, the Institute of International Visual Arts, London where he curated Iniva’s digital programme including installations, exhibitions, public and online projects. Stewart is a founder member of London based interdisciplinary artist, research and performance group Dubmorphology. Within academia he is an external Phd examiner for School of Performance and Screen Studies, Faculty of Arts and Social Sciences at Kingston University and Artist Associate at People’s Palace Projects an arts organisation at Queen Mary, University of London who have established a Creative Lab in Rio de Janeiro, Brazil.