Publisher: Wits School of the Arts, University of the Witwatersrand, 1 Jan Smuts Avenue, Braamfontein, Johannesburg, South Africa
Editor in Chief: Dr. Tegan Bristow (please contact via contact form).
Framing Statement & Objectives of […] :
[…] denotes a grammatical troubling, an opening or caesura in the linear flow of a sentence, marking intentional omission, absent content. Alternatively, the application of ellipses as aposiopesis signals a certain trailing off, a sentence ending or not ending in the suspension of unresolved thought… It resists pronounciation or being easily saved as a file or turned into a URL. For these deviant, troubling and open-ended features, […] – applied without prefix or suffix – works as a conceptual space or marker hospitable to the contingent, collaborative and multi/cross-disciplinary work of creative research in the global south supported by this digital and online journal.
What discourses, paradigms, tropes or structures shape or censor different kinds of knowledge production, and how can alternative modes of meaning-making imagine and make possible a more just and liveable world? […] asks these questions from an explicitly Global South perspective – rooted in the local, open to the diasporic and informed by a range of practices, processes and tactics that deviate from conventional, analytical and colonial modes of knowledge production. […] is a collaborative platform, drawing editors and contributors into creative dialogue with digital arts practitioners, and encouraging interactive and digitally published scholarship that extends beyond the rarefied space of the academy. It is an experiment with form, prioritising sonic, visual, oral, performative, visceral, embodied, spatial and temporal modalities of practice, invested in questions of why, how and for whom knowledge is produced, and by what criteria deemed ‘valid’. […] supports a growing community of scholars, artists, curators, creative practitioners and collectives, thinking and working in and from the Global South. In each issue […] is imagined as another opportunity to rethink the ways in which creative research and the ‘aesthetic’ is bound to the machinations of dominant knowledge economies, and to creatively explore more enabling, and culturally responsive modes of meaning-making.
[…] was collectively founded in 2015 at the Wits School of Arts as a multi/cross-disciplinary, digital, online and interactive journal for creative research, by collective responsive to the urgent political demand for the decolonisation of knowledge and the university mobilised by #rhodesmustfall and #feesmustfall. The journal is supported by the Wits School of Art, steered by a local, regional and international appointed Editorial Board. […] has published three issues to date, and one special edition. […] publishes biennially, with issue IV scheduled for release in 2022.
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 Art Research Africa, developing Creative and Artistic Research within the Wits School of Arts and supported by The Andrew W. Mellon Foundation.
Aims of […] :
- […] is a platform for Creative Research from the Global South, with an emphasis on African and diasporic practices of knowledge production.
- For […] Creative Research encompasses artistic research, practice-led research and research as creative practice, all of which are acknowledged as submissible forms of research and valid methodologies of knowledge formation.
- […] aims to reflect Global South approaches to critical artistic research as support for decolonial practices. Inviting disenfranchised and new methodologies of knowledge production to both challenge and expand traditional/colonial conceptions of academic research and validity in academic research.
- […] seeks to trouble the established knowledge economy of the university and academia, and the ways in which ’research’ is produced, governed and circulated (or withheld), by presenting (and re-centering) decolonial creative research as open-access content on an interactive online platform.
- […] is an experiment in form, supporting multi and cross-disciplinary work in which conventional written research practices are productively intertwined with new media, audio, visual and interactive forms of production and publication in the digital.
- […] embraces Creative Research work across a broad range of disciplines, pushing the digital humanities into productive dialogue with the visual and performing arts, music, sociology, anthropology, African Literature, architecture and other fields of cultural and creative study.
- […] aims to make transparent the processes and critical developments involved in its approach to, and support of, creative research work, reflecting the journal’s stated commitment to decolonising knowledge and research methodologies.
- […] holds digital production and dissemination within the context of global souths, as an opening of restricted and restrictive hardcopy formats and archives, and an opening of methods and channels in its aim to decolonise creative research and knowledge production.
Peer Review & Critical Knowledge Engagement in […] :
PEER REVIEW PROCESS:
Submission, shortlisting and peer reviews are conducted online in a protected and archived submission system. Selection and review follow this process:
Editorial Selection and Review: an initial shortlisting of submissions is conducted by the Issue Editor/s. This shortlisting is aimed at identifying:
- Submissions that respond to the open call and align with the thematic or critical knowledge concern the issue in question.
- Assuring balanced representation in the submissions being put forward for peer review.
Editorial Board & Double Blind Peer Review is conducted against shortlisted submissions, this is done by both a panel of elected peer reviewers and selected members of the Editorial Board. Reviewers assess the following:
- Submissions meet the submission criteria of the issue and Journal and align with the aims of the Journal (see above), which will include:
- The extent to which the submission engages critically and creatively with questions of knowledge production.
- The extent to which the submission acts as a meaningful contribution to knowledge making on/in creative decolonial research related to the Global South.
- Has no legal or ethical concerns.
Review outcomes will be sent directly to authors by the Editor in Chief and Issue Editors as one of the following outcomes and with instructions for next steps:
- Accepted for publication as proposed in the submission.
- Request a revision on aspects of the submission before acceptance.
- Rejected for publication (to be accompanied with reasons for the rejection).
CRITICAL ENGAGEMENT & KNOWLEDGE TRANSPARENCY:
[…] Ellipses Journal for Creative Research is committed to opening up and making transparent the processes of criticality and knowledge development for Creative Research in the Global South. In an act towards radicalising the methods of generation, review, development and publication, our issues are subject to any of the following:
- Open to Editorial Teams for Issues: we understand that knowledge and critical engagement in the Global South more often than not takes place within communities of practice rather than with individuals. We therefore encourage the election of editors and editorial teams from collectives, partnerships and knowledge collectives.
- Post Review Publication: in following the historical trajectory of Ellipses and its founding in the collective production of its first issue aimed at knowledge production transparency – we ask for post and some pre-publication reviews to be published alongside published research submissions.
- Community Knowledge Engagements: following publication Ellipses aims to bring the published research into an engagement with a community of practice in Creative Research, in the global south and its diaspora. This is done by working with editors and editorial teams to develop knowledge events or actions that aim to expand visibility and further engagement with the themes and methodologies of the issue and research in question.
Submissions to […] :
Current Open Call of Issue IV closes on 1 December 2021
CRITERIA for SUBMISSION
All submissions must meet the following criteria in meeting the aims of […] :
- Reflect a critical and substantial response to the thematic or critical knowledge concern of the Issue to which the submission is being made.
- Fit the journal’s aims towards the publication of creative research (see Journal’s aims).
- Reflect a critical and substantial response to the subjects and/or actions of the Global South.
- Present in or translate through multimedia and /or the online digital format of the Journal.
- The contribution should not be previously published online or in a mutli-media / interactive form. If previously published (this includes exhibited or performed) in a different form, reference to prior publication, formats and justifications for revisited publication must be supplied with the initial submission.
- Should not have any ethical or legal concerns.
- Contributes to balanced representation.
GUIDELINES for SUBMISSION
Submissions are received only through the submission portal (see issue calls) and against a deadline following a call for submissions to specific issues.
Submissions should follow the criteria for submissions (above) and meet these guidelines:
- Provide an indication on whether the creative research submission can be presented in one of the following online and interactive formats; detailing which format is may be best suited to the research in question, and why (use the form to indicate):
- Media enhanced by text; such interactive essays or digital conversation / interviews (should include media formats such as audio, visual or other media contributions).
- Multi-hyperlinked media and /or hyperlinked text; linking to own or external media and sites and may include multiple media formats.
- Interactive Map (spatial), with media and/ or text linked to a spatially mapped location or sites.
- If you are a digital artist or collaborating with a digital artist and are proposing a digital submission to be developed by yourself or a collaborator without assistance (apart from hosting) from the Ellipses editorial team.
- A written statement or abstract of 500 words (max) of the proposed creative research submission; indicating aims, critical research position and response to the thematic concern of the issue submitted to.
- A written description of 500 words (max) of the media and / or digital contribution of the proposed creative research submission. Media contributions may vary and should include media formats suited to the research in question. The description may include references to attached samples or links (use the form to attach and add links).
- A biography and publication history of the author and any collaborating authors.
- Issue editors may add further guidelines related to specific issues.
- Accepted submissions will be subject to a publication agreement, which includes allowances for open access publication, use and distribution rights and criteria by the journal and form based restrictions to the republication of the work.
- Amie Soudien
- Annie Paul
- Athena Mazarakis
- Athi Mongezeleli Joja
- Carine Zaayman
- Cathérine Hug
- Clare Loveday
- Danai Mupotsa
- Edda Sickinger
- Ernst van der Wal
- Etienne Viviers
- Fabian Saptouw
- Francis Burger
- George E. Lewis
- George Mahashe
- Gwen Miller
- Janine Allen-Spies
- Joanna Grabski
- Joshua Reno
- Juanita Praeg
- Kurt Campbell
- Lionel Manga
- Louise Hall
- Michelle Stewart
- Mika Conradie
- Mokale Koapeng
- Naadira Patel
- Natalia Esling
- Nathanie Luneburg
- Nishlyn Ramanna
- Theo Herbst
- Ulrich Süsse