Category Archives: Journals

CFP: Leonardo PhD Symposium

Leonardo Three-Year Symposium on the Ph.D. in Art and Design

Ken Friedman and Jack Ox, Guest Editors

In 2017, the journal Leonardo celebrates 50 years of publishing research and works of art at the intersection of art, science and technology. As part of the celebrations, we initiated a 3-year symposium to address issues surrounding the development of the Ph.D. in Art and Design. The first articles are about to appear.

Universities around the world are now debating this issue. While the MFA is a terminal degree for professional practice, the Ph.D. is a research degree — the doctor of philosophy. The debate began in the U.K. when independent art and design schools merged with universities or obtained university status in their own right. This led to the question of the standards for appointment and promotion to programs once located in separate institutions that are now located within universities. Universities in Europe, Asia, Australia and North America have joined the conversation by establishing new Ph.D. programs or initiating serious debates on whether — and how — to build them.

The question of the Ph.D. for art and design raises many challenging issues. First among these is the nature of research, research training, and the Ph.D. While this issue is obvious to those who have earned a Ph.D. in the natural sciences, social sciences, or liberal arts, it remains complicated in understanding the Ph.D. for art and design. What is the Ph.D. in art? What is the Ph.D. in design? What should a Ph.D. be in a field of professional practice? Should there be several kinds of Ph.D. in art and design or one major model? Why pursue such a degree? What is the nature of such a Ph.D. with respect to research quality as distinct from the quality of art or design practice? Why are so many programs struggling or going wrong? Why do universities and accrediting authorities permit problematic programs to continue? Why, in the past, did artists interested in research choose to take a Ph.D. in disciplines outside art? Are there specific skills all researchers require without respect to their discipline? These are questions to consider, and there are people who have something to say about them, including experienced supervisors. With this symposium, we are reaching out to those with solid experience in doctoral education to draw on their skills and wisdom.

The fresh debate on the Ph.D. for art and design taking place in North American universities has global implications. This debate makes it imperative to consider the different models of doctoral education elsewhere in the world. Is it reasonable to earn a Ph.D. for a practice-based thesis with an artifact or an exhibition in place of the thesis, accompanied by an essay of 20,000 words? Should doctoral programs admit students to research training programs without undergraduate experience in such key skills as analysis, rhetoric, logic or mathematics? Can undergraduate art and design students with a focus on studio skills hope to succeed in doctoral work when they have had little or no experience in the kinds of information seeking or writing that form the basis for earning a research degree? Is it possible to award Ph.D. degrees for skills and capacities completely different from those in any established research field? In North America, an exhibition of artifacts with a short thesis is the basis for awarding an MFA degree; in the UK and Australia and at some European art schools, this is the basis for awarding a Ph.D. Is it possible to merge these two traditions?

The SEAD and STEAM Challenge

One of the specific challenges we face internationally is finding new ways to enable collaboration between science and engineering with the arts, design and the humanities (SEAD). The United States National Science Foundation funded a SEAD study highlighting a number of international developments and best practices that inevitably will influence the question of the Ph.D. in art and design. One of the areas in this study was the emerging discussion on “STEM to STEAM.”

Call for Papers

The Ph.D. for art and design has become a significant issue in worldwide university education. As the world’s oldest peer-reviewed interdisciplinary journal for the arts, sciences and technology, Leonardo has a responsibility to serve as a forum for the conversation. This symposium is our contribution to the emerging dialogue on this issue in North America and around the world.

We seek several kinds of contributions to a 3-year symposium on the Ph.D. in art and design.

• First, we seek full-length peer-reviewed articles for publication in the Leonardo addressing key issues concerning the Ph.D. in art and design.

• Second, we seek significant reports, research studies and case studies. Since these will be longer than journal articles, we will review them for journal publication as extended abstracts with references, and we will publish the full documents on the Leonardo web site.

• Finally, we will welcome Letters to the Editors in response to published articles and to the documents on the web site.

Questions and correspondence should be sent to Jack Ox at:

Manuscript proposals and articles submitted for publication consideration should be sent to:

Ken Friedman PhD, DSc (hc), FDRS, is Chair Professor of Design Innovation Studies at Tongji University; University Distinguished Professor at Swinburne University; and Adjunct Professor at James Cook University.
Jack Ox PhD, MFA, Research Fellow at ART/SCI Lab, ATEC, UTDallas Research Associate with the Center for Advanced Research Computing (CARC) University of New Mexico.

JAR12 is online – Journal for Artistic Research (JAR)

JAR12 is here

Journal for Artistic Research (JAR)

The online, peer-reviewed journal for the publication and discussion of artistic research.

JAR is open-access, free to read, and to contribute.

We are very proud to announce our twelfth issue with the following contributions:

Cécile Colle and Ralf Nuhn (FR), ’cONcErn: towards a of art, for art, and through art’; Anik Fournier (NL), ‘Rudimentariness: a concept for artistic research’; Joe Graham, Steven Dickie and Chantal Faust (UK), ‘ANCHORAGE: a phenomenology of outline’; Lisa Stuckey (AT), ‘Haunted by last season’s video letters: amateur films performing spectrality’; Jan Schacher and Patrick Neff (CH), ‘Moving through the double vortex’.

Keywords include: amateur film-making, spectrality, mesology, conceptual art, touch, sensate thinking, drawing research, phenomenology, corporeality, interdependence, performance.

Have a look at the full issue here.

Michael Schwab’s editorial for JAR 12 focuses on the role of the abstract, opening it out from its very important functional role in published research in general to consider its role in the specific context of artistic research: “What concerns me is that, in an artistic context, the abstract, like any other element of an articulation, needs to be problematised – that is, challenged regarding its artistic status. Take the title as an example: it is utterly clear from the history of art that the name of a work may make it. (Can you imagine Felix Gonzalez-Torres’s Perfect Lovers without the title?) In the same vein, an abstract is not immune from affecting the meaning of an article and can be deployed as a powerful device.”

Read the full editorial here.

The Journal for Artistic Research (JAR) is an international, online, Open Access and peer-reviewed journal that disseminates artistic research from all disciplines. JAR invites the ever-increasing number of artistic researchers to partake in (and reinvent) what for the sciences and humanities are standard academic publication procedures. It serves as a meeting point of diverse practices and methodologies in a field that has become a worldwide movement with many local activities. The journal promotes experimental approaches to both writing and reading research. We welcome submissions from across and between disciplines, from artists worldwide, with or without academic affiliation.

If you are considering submitting something to the journal be sure to look at our guidelines.

JAR works with an international editorial board and a large panel of peer-reviewers.

Editor in Chief: Michael Schwab

Editorial Board: Annette Arlander, Sher Doruff, Barnaby Drabble, Mika Elo, Leonella Grasso Caprioli, Yara Guasque, Julian Klein, Jen Liese, Isidro López-Aparicio and Mareli Stolp.

JAR is published by the Society for Artistic Research (SAR), an independent, non-profit association. You can support JAR by becoming an individual or institutional member of SAR. For updates on our activities, join our mailing list.



Studies in Artistic Research: Ruukku #6 is online now!


Ruukku #6 is online now!

This new issue of RUUKKU shows how artistic research and the ways in which art is made can contribute to not only societal debate but also to methodologies in other disciplines. The articles are grouped around four themes, albeit ones with porous and fluid boundaries. These are socially responsible art, the methodology of art research, the political nature of making art and new forms of making art. The issue features research expositions from Susanna Helke, Kalle Lampela, Barbara Lüneburg, Tero Nauha, Minna Rainio, Denise Ziegler, Maria Huhmarniemi and Satu Miettinen, Inkeri Huhtamaa & Taina Kontio.

The journal RUUKKU uses the Research Catalogue internet platform for presenting multi-medial and multi-lingual expositions. The Research Catalogue requires the authors to register for an account to edit text and images on a single or multipage layout. The international RC repository features a growing number of accounts on artistic research.

RUUKKU encourages artists and artistic researchers to submit expositions that extend the written journal paper format: images, slideshows, video, sound and navigational elements are possible within the RC publishing platform. The platform enables artists to display different aspects of their work and experiment with ways of presenting artistic research.

RUUKKU receives support from the following institutions: Aalto School of Arts, Design and Architecture and the University of the Arts Helsinki. For further information, see

Issue editors:

Mari Mäkiranta & Eija Timonen

RUUKKU editorial board:

Mika Elo (chair), Annette Arlander, Hanna Järvinen, Esa Kirkkopelto, Harri Laakso, Maarit Mäkelä, Teemu Mäki, Margit Rahkonen, Taina Riikonen, Hannu Saha, Jyrki Siukonen, Riikka Stewen, Eija Timonen

Contact Ruukku:

CALL FOR PAPERS: Photographies journal: Critical Issues in Photography Today

International Conference – Call for Papers

Photographies journal: Critical Issues in Photography Today

Thursday 18 May & Friday 19 May, 2017
Venue: University of Westminster (Central London), UK

On the occasion of our tenth anniversary, photographies journal is holding a conference aiming to bring together thinkers and photographers in discussion on photography today. We invite papers to revisit our original agenda in the light of photography now:

photographies seeks to construct a new agenda for theorising photography as a heterogeneous medium that is changing in an ever more dynamic relation to all aspects of contemporary culture. photographies aims to further develop the history and theory of photography, considering new frameworks for thinking and addressing questions arising from the present context of technological, economic, political and cultural change.

We further invite you to make submissions that address:

  •   photography as a heterogeneous ‘medium’
  •   new frameworks for thinking photographic practices and industries of photography,
  •   examine contemporary uses and currencies of the photographic image within local/global contexts
  •   identify and developing (emergent) critical debates and practices
  •   reflect on critical theoretical issues in relation to photography education.


Each day will include discussions by members of the journal’s advisory board.

Conference Conveners:
Professor David Bate, University of Westminster
Professor Liz Wells, Plymouth University

Conference Administration
University of Westminster & Plymouth University


The call for 20-30 minute papers is now open.
We encourage photo researchers to submit a practice and/or research based abstract of no more than 350 words that relate to:

  •   New debates and developments in photographytheory;
  •   Speculative ideas and currencies in photography;
  •   Geographies of representation: borders, space, place and migration, movement, dislocation, memory;
  •   The legacy of photography theories (e.g. poststructuralism, Marxist theories) for photography writing and practice;
  •   The politics of representation as related to the fluidities of image circulation;
  •   Theory, criticism and photography education;
  •   Ways of teaching photography from global and contemporary perspectives;
  •   The rapid growth of photography books, journals, magazines, blogs and social media based criticism and practices

Practice-led creative-critical papers and innovative (2/3person) panelproposals are welcome.

Proposals should be sent to
Deadline: 14th November 2016

All proposals will be peer reviewed.
We aim to let you know by mid-January whether your paper or presentation has been accepted. Proposals should include the following:

Title of paper or presentation Abstract (max 350 words)
Visual material (if practice-led – max 12 jpegs)
Your name
Institutional status (if applicable) and 20 word bio
Contact address and email

Full details of further deadlines, conference fees, speakers and associated events will be posted on:

Please submit proposals to, Plymouth University

DOWNLOAD: Call for Papers-photographies.

Media archeology contributions sought

Media Archaeologies ForumJournal of Contemporary Archaeology 

The recent emergence of ‘media archaeologies’ is an exciting theoretical and methodological shift within media studies. In 2010, in The Routledge Companion to Film History (ed. William Guynn), Erkki Huhtamo defined ‘media archaeology’ as ‘a particular way of studying media as a historically attuned enterprise’ that involves researchers ‘”excavating” forgotten media-cultural phenomena that have been left outside the canonized narratives about media culture and history’ (203). In the same year, Jussi Parikka added that ‘media archaeology needs to insist both on the material nature of its enterprise – that media are always articulated in material, also in non-narrative frameworks whether technical media such as phonographs, or algorithmic such as databases and software networks – and that the work of assembling temporal mediations takes place in an increasingly varied and distributed network of institutions, practices and technological platforms’( German media theorist and trained archaeologist, Wolfgang Ernst, describes media archaeology’s focus on the ‘nondiscursive infrastructure and (hidden) programs of media’ (2013, Digital Memory and the Archive, p. 59). If media archaeologists such as Thomas Elsaesser, Wolfgang Ernst, Lisa Gitelman, Erkki Huhtamo, Jussi Parikka, Cornelia Vismann and Siegfried Zielinski are interested in scalar change, material-discursive assemblages and deep time relations as they pertain to media technologies and networks, how might archaeologists with interests in the media actively contribute to the shaping of this field?

Alongside archaeology’s discursive travels across the humanities, most notoriously via Michel Foucault, archaeologists have long engaged with media. From Silicon Valley to Atari dumps, from the mobile phone to the media technologies of post-war astronomy and from telegraphy to the material-discursive actions of media as sensory prostheses, the global archaeological community has produced a large number of important studies of media techno-assemblages that both map specifically archaeological approaches and push at the limits of archaeology as a discipline. What are the archaeological specificities that mark out a distinct disciplinary approach to understanding media? How might the practices of media archaeologists such as Huhtamo, Parikka, et al challenge assumptions that archaeologists located within the discipline might have about their methodological and conceptual specificities? In short, where are the boundaries between media archaeologies and archaeologies of media? How are those boundaries drawn, performed and maintained? And how might we work together to ask new questions of media technologies and their relations?

This forum invites contributors to submit responses to the provocations contained in the first paragraph. The forum invites contributors to draw out key archaeological theories and practices to contribute to the rich field of media ecologies, archaeologies and ‘variatologies’ in order to explore the implications of distinct yet diverse archaeological approaches to media assemblages. Commentaries are welcomed in the form of short texts (1,000 – 3,000 words) or in any other genre suitable for print, including drawings and images. We welcome especially original thoughts and specific examples from around the world.


Commentaries will be selected in terms of originality, diversity and depth and will be published in a forthcoming Forum in Journal of Contemporary Archaeology ( Deadline for submissions is 3 February 2015.


For submissions and questions, please contact Angela Piccini,

The Women that Tech Forgot

‘The Innovators’ by Walter Isaacson: How Women Shaped Technology


While spending the summer of 2007 in Aspen, Colo., Walter Isaacson and his wife, Cathy, spent much of their waking moments hounding their daughter to finish — or even start, for all they knew — her compulsory college essay. Finally, after hearing enough from her nagging parents, Betsy Isaacson locked herself in her bedroom until she emerged with a completed two-page essay. “Congratulations, Betsy,” Mr. Isaacson recalls saying as they stood in the living room. “What did you write it about?” “Ada Lovelace,” she replied. This was followed by a long, awkward silence. Mr. Isaacson, who was just beginning work on a biography of Steve Jobs, could not recall who Ms. Lovelace was. “She’s one of the women who has been written out of the history of computing,” his daughter replied…

Read the full version of article in The New York Times, Fashion and Style section.


International Journal of Design, Volume 8, Issue 2 available online

International Journal of Design
Vol. 8(2) August 2014 | Table of Contents

Original Articles

Tools for Participation: Intergenerational Technology Design for the Home
Sonja Pedell , Frank Vetere , Steve Howard , Tim Miller , Leon Sterling

Investigating the Unexplored Possibilities of Digital–Physical Toolkits in
Lay Design
Guido Hermans

Understanding Design for Dynamic and Diverse Use Situations
Mieke van der Bijl – Brouwer , Mascha van der Voort

The Boundaries of Public Space: A Case Study of Hong Kong’s Mass Transit
Tianjiao Zhao , Kin Wai Michael Siu

The Emotional Characteristics of White for Applications of Product Color Design
Nooree Na , Hyeon-Jeong Suk

Design Case Studies

Designing to Bring the Field to the Showroom through Open-ended Provocation
Janet Kelly , Stephan Wensveen

Empathy or Inclusion: A Dialogical Approach to Socially Responsible Design
Carla Cipolla , Roberto Bartholo


Exploring ‘Immaterials’: Mediating Design’s Invisible Materials
Timo Arnall

Changing your Hammer: The Implications of Paradigmatic Innovation for Design
Paul Gardien , Tom Djajadiningrat , Caroline Hummels , Aarnout Brombacher

International Journal of Design