Contributions

IM invites contributions for the following issues:

IM: Public/Private
Issue 6: Special Issue on ‘Performance’

Call for Papers

The editors are calling for submissions for this special issue of IM which will showcase current performative and theoretical developments in a field that is constantly evolving. We are especially interested in papers and/or productions that highlight transgressions of the conventional generic boundaries (of dance, theatre, painting, photography, architecture or film) and explore the creative possibilities of the new technologies available to contemporary artists.

‘Performance’, here, is very broadly interpreted as embracing post-dramatic interventions whether in the visual or other representational arts and, in the spirit of the foundational theme of IM itself, we welcome material that may be as disparate as a theoretical paper emphasizing the role of the private viewing subject (“I AM”) or, at the other end of the spectrum, a performance that interrogates the process or processes (“Interactive Media”) by which it is publicly transmitted.

Papers/Performances should be submitted, electronically, in compliance with IM’s on-line requirements by: 1 February 2010. We anticipate publication by May/June 2010.

For further information, contact the Special Issue Editor: Associate Professor Jenny de Reuck.

We are aiming for between 4-6 major essays (3- 8,000 words + pictures), then 2-4 shorter commentary/polemics (1-3,000 + pictures), and possibly 4-6 reviews of  innovative productions. If we get significant works that are shorter or substantially longer, we will definitely consider these as well.

Our overriding aim is to present creative artists as authors in every sense of the word by giving them a space to publish their script (and/or) image combination...and various other forms which legitimate their intellectual work. We encourage hybrid forms as well as conventional writing without seeking any priority.

Please follow the following formatting instructions carefully and provide all requested information.

• We can only accept previously unpublished work.
• We will receive contributions for consideration via email as an attached file, or on CD-ROM, in Word or RTF file format.
  
• Please label your file with your family name (surname) first, eg brewer_issue4.doc This allows us to download and keep track of your paper without problems.
  
• All pages are to be numbered, and, to allow for anonymous refereeing, the author's name and institution should be typed on a separate sheet and submitted with the manuscript. On the disk copy, please make sure your name does not appear on the file.
  
• Papers should not normally be longer than 5000-6000 words.
  
• Include an abstract of 100-150 words.
  
• Include a list of keywords to be included in the metatag. These words will be used by search engines to locate your paper.
  
• Copyright clearance must be obtained for any audiovisual material submitted.
  
• Send images as .jpg, .gif or .tif files. Each image file name is to correspond to a point in the paper where it is to be inserted. If you do not have access to a scanner to digitalise your images, post them to The Editors of IM and we will scan and return them.
  
• Captions for image files must be included.
  
• If your paper includes video clips, please send the clips cut to the exact size - as mp4 files.
  
• Please send a short bio-data and a photograph of yourself - preferably in .jpg format.
  
• Referencing is to be Endnote system without the use of op. cit. or ibid. Please do not insert brackets around endnote numbers. That is done during the html process.

Indicating the relevant reference in the text:

A number eg. 1, placed in the text of the essay, indicates the relevant reference. Citations are numbered sequentially throughout the text and each citation corresponds to a numbered endnote containing publication information about the source cited.

For Sound Recordings :

Dougie Young, "I Don’t Want Your Money", The Songs of Dougie Young , Audiocassette, Canberra: National Library of Australia, 1994.

For Video Recordings:

Terence Davies, director, writer, producer, The Neon Bible , VHS, Triumph Video, 1998.

For Films :

Ridley Scott, director, Blade Runner , DVD, CA: Warner Home Video, 1983.

[When you wish to emphasise other credited “authors” of the text (e.g. scriptwriter), the overall director must also be mentioned]:

Daniel Mainwaring, scriptwriter, Invasion of the Body Snatchers, Don Siegel, director, 35mm.,Allied Artists, 1956.

For Print Documents

First mention of reference in full:

James Monaco, Alain Resnais, New York: Oxford UP, 1987, p.30.

Thereafter use shortened form:

Monaco , Alain Resnais, pp. 24-27.

For articles in edited volumes:

Gilles Deleuze, "Nomad Thought", in The New Nietzsche,” ed. David B. Allison, Cambridge: MIT, 1985, pp. 142-149.

Shortened form:

Deleuze, "Nomad Thought", p. 143.

Articles in Journals:

D. N. Rodowick, "Audiovisual Culture and Interdisciplinary Knowledge", in New Literary History 26 (1995) 111-121, p.118.

Shortened form:

Rodowick, "Audiovisual Culture and Interdisciplinary Knowledge", p. 114.

The complete URL of any websites mentioned in your text or endnotes is essential.

Harriet Evans, 'The Language of Liberation: Gender and Jiefang in early Chinese Communist Party Discourse,' in Intersections, Gender, History and Culture in the Asian Context, 1, (September 1998), URL: http://wwwsshe.murdoch.edu.au/intersections/back_issues/harriet.html, site accessed 21 November 1999.

Thereafter use shortened form:
Evans, 'The Language of Liberation'.