[#1] Ellipses Journal for Creative Research, 2016

[…] 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. All of these features have given the editorial board and the design team a few collective headaches. 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 projects (existing or new) 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 (we are all invested in showing our work and our funding comes from a university).   […] 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 edition of […] is marked by a process both pragmatic and speculative. […] is the product of grant money from WITS University’s SPARC fund, and as such is designed to function as an accredited journal located within the WITS School of Arts (WSOA). The editorial board, all artists, musicians or performers, are also full time academic staff at WSOA (with the exception of Talya Lubinsky, a recently graduated MA candidate who acted as editor and project manager). The selection of the board prioritised representation from as many disciplines as possible. Each editor was asked to think through their practice – but also to think through their roles as pedagogues and institutional actors.   The content for the first edition of […] was not developed through a call for submissions (however we will move towards this structure in subsequent editions) rather, each editor proposed a few works and we approached artists directly in this regard. As a result, the work reflects the interests and orientations of a group of individuals who occupy space in a particular moment, within a particular institution.