About Ellipses

[…] 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 Art Research Africa, developing Creative and Artistic Research within the Wits School of Arts and supported by The Andrew W. Mellon Foundation.