Authors whose Themed Proposals have been selected and approved by Media-N’s Editorial Board are invited to act as Guest Editors for a specific journal issue. Guest Editors work closely with the Editor-in-Chief and with an Associate Editor appointed to act in a support role to assist Guest Editors in setting up the blind peer-review process; in applying editorial guidelines; and in managing the editorial workflow in a timely manner. Guest Editors are responsible for drafting a CFP; recommending essays for publication; assembling all the textual and supporting material related to the publication such as: essays, copyright release forms, media (images, videos, sound files) and captions for art works; editing; copy-editing, and proofreading. It is important that all pertinent material be formatted according to the standards set out in our Publication guidelines. To this end Guest Editors must clearly convey these guidelines to their authors from the onset.
Guest Editors are responsible for working with authors in editing content according to these formatting guidelines.
- Word count: Content for Guest Edited publications have a word count limit of: 36,000 words. This word count includes references, captions for art works, and authors’ biographies (which should not exceed 150 words.) Guest Editors must take this total word count into account by calculating and setting the length of each essay submission according to the amount of contributing authors. For example: 36,000 words divided by 10 authors = 3,600. Thus, each essay will have a word count limit of 3.600 (this includes references, captions for art works, and authors’ biographies of no more than 150 words.)
- Headings: We suggest brief headings of no more than ten words.
- General formatting:
- Essay submissions should contain this information, in this particular order:
c-Author’s academic position/affiliation/ etc: (eg: Independent artist, or researcher / Assistant Professor / Professor…)
d-The body of the essay
f-Author’s Bio – 150 word count (email and/or www. can be included at the end of the Bio.)
- Essays should be submitted as UNFORMATTED Word documents – that is to say, do not use Word’s automated formatting functions (such as Indentations; Styles; Headings; Bullets; page numbers and footnotes).
- Please set your Word Docx. like this:
Font: Times New Roman
Alignment and Spacing: Horizontal: Left aligned; Single space: Single
- Give extra spacing between paragraphs.
- Do not indent your paragraphs or use the tab feature.
- Do not include a Bibliography.
- Include references or endnotes (no indentations). We will not accept Word formatted references or endnotes. These should be listed at the END of the essay under the heading: References. List corresponding unformatted numbers, like so: 1. 2. 3.
- Corresponding reference numbers within the essay should be placed at the end of the sentence, surrounded by a left and right square bracket with a space after the full stop, like so. 
- For direct quotations remember to use “double inverted commas.”
- Use ‘single inverted commas’ sparingly to stress a particular concept or word.
- Do not use italics or bold unless they are within the quote itself, like so: “italics” or “bold.”
- Note that the comma is placed within the ‘inverted commas,’ as in this example. “This also applies for double inverted commas,” as well as to the use of a full stop as in the “following example.”
- Use en dashes (not em dashes) with spaces – like this – to set off phrases. En dashes are also put between digits to indicate a range (1–10 October; pp. 25–30). You can type an en dash with ALT + 0150 (in the numeric keypad) in Windows, or OPTION + HYPHEN in Mac.
- Referencing Style: We use the Chicago Manual of Style 16th Edition. Please refer to the samples below:
- Jay David Bolter and Richard Grusin, Remediation (Massachusetts: MIT Press, 1999), 80.
- Richard Wagner, The Art-Work of the Future, trans. William Ashton Ellis (London: University of Nebraska Press, 1993), 6.
Second and subsequent citations in same paper
- Bolter and Grusin, Remediation, 130.
Books with multiple authors
- Geoffry C. Ward and Ken Burns, The War: An Intimate History, 1941-1945 (New York: Knopf, 2001), 52.
- Peter Weibel, “It is forbidden not to touch: Some remarks on the (forgotten parts of the) history of interactivity and virtuality,” in MediaArtHistories, ed. Oliver Grau (Massachusetts: MIT Press, 2007), 21–41.
- Colin Milburn, “Tactical Atomism,” in Art in the Age of Nanotechnology, eds. Vashti Innes-Brown, Chris Malcolm, and Pauline Williams (Perth: Curtin University Press, 2010), 6–18.
Chapter in a single author book
- Geert Lovink, “Radical Media Pragmatism (1998)” in Dark Fiber (Massachusetts: MIT Press, 2002), 218–225.
- Sarah Pink “Sensory digital photography,” Visual Studies 26, no. 1 (2011): 4–13.
- Michael O’Shea and Sol Sneltvedt, “Mindscape: An Attempt to Visualize the Workings of the Brain,” Leonardo 39, no. 5 (2006): 455–56.
Journals accessed online
10. Henry Lowood, “Perfect Capture: Three Takes on Replay, Machinima and the History of Virtual Worlds,” Journal of Visual Culture 10, no. 1 (2011): 113-24, doi: 10.1177/1470412910391578.
11. Ghidini, Marialaura, “Appropriating Web Interfaces: From the Artist As DJ to the Artist As Externalizer,” Media-N 8, no. 2 (2012), http://www.newmediacaucus.org/wp/appropriating-web-interfaces-from-the-artist-as-dj-to-the-artist-as-externalizer/.
Magazines and Newspapers (online)
12. Rory Cellan-Jones “Hargreaves Review: Who has won the copyrights wars?” BBC News Technology, May 17, 2011, http://www.bbc.co.uk/news/technology-13422652 (accessed June 29, 2011).
13. Claudia La Rocco, “Modernism Celebrates Its Incubator,” New York Times, October 31, 2010, http://www.nytimes.com/2010/11/01/arts/dance/01judson.html.
14. “Projects,” on Johanna Drucker’s official website, accessed November 14, 2012, http://www.johannadrucker.com.
15. Edward Castronova, “The Decline of Worlds,” Terra Nova (blog), December 14, 2012, http://terranova.blogs.com/terra_nova/.
16. Lev Manovich, in discussion with the author, December 2000.
17. N. Katherine Hayles, e-mail message to author, July 12, 2005.
Citations taken from secondary sources
18. Josiah Strong, quoted in Michael Hunt, “American Ideology: Visions of National Greatness and Racism,” in Imperial Surge: The United States Abroad: The 1890s – Early 1900s, ed. Thomas G. Paterson and Stephen G. Rabe (Lexington, MA: D.C. Heath, 1992), 16.
- Image/video/sound captions: Please follow this format for art-works and media captions:
- Media submission guidelines and formats:
- Plan to submit at least 4 items to illustrate your essay: images, videos, sound files.
- In your essay, please indicate where the video and audio media should be inserted, and how it should be captioned, for example: insert Fig. 1 – Title of piece, Year, Name of the artist, Medium/media, Copyright acknowledgement.
- Because we publish mirroring web and print-on-demand issues, you must submit both Web ready and print ready material. For example, you will submit the same image twice: one low resolution JPG or PNG, and one high resolution TIFF. If you are submitting moving image works for the web publication, you will need to also provide stills for the print publication.
- media (images, video, sound).
- 2 Word docs: 1) author’s essay -2) a list of corresponding media captions.
- 2 PDF forms: 1) Author Agreement form – 2) Media Permission form. Click on links below to download forms:
- When submitting your media, identify your file like this:
- Media specs:
- Image specs for Web: JPG or PNG (preferred) format, maximum of 640 pixels in width or height.
- Image specs for print: JPG, TIFF or PDF format, 300dpi or greater, 1400 pixels in width or height.
- Video specs: 50 MB (max.) Quicktime format, max width 640px. Please submit a capture of the frame you want used along with your video file, we will also need it for the print version.
- Sound specs: 50 MB (max.) .mp3 (preferred), .wav, .aiff
- Media captions:
- Note: Please refer to the section Image/video/sound captions. We want image “captions” and not image descriptions, like this example:
- Fig x. Third Skin, 2011, Andrea Zapp, textile media, ©Andrea Zapp.
- Authors’ Biographies: Please limit your biographies to 150 words.
- Do not use abbreviations for universities, museums or states, but rather use the full name, like in this example:
Fig x. Title of piece, Year, Name of the artist, Medium/media, Copyright acknowledgement.
If the work is in a public collection, the caption should read like so:
Fix x Title of piece, Year, Name of the artist, Medium/media, Size (if applicable), Collection, Copyright acknowledgement.
Fig. 1. 9 ans (9 years), 1968, Piotr Kowalski, luminescent radioactive gas and glass, © Andrea Kowalski (Used with permission.)
Fig. 2. Chronology of Russian History, 1953-54, George Maciunas, ink and graphite on paper, 41.8 x 39.5 x 11.8 cm, The Museum of Modern Art, New York, The Gilbert and Lila Silverman Fluxus Collection Gift, © Billie J. Maciunas. Photo © Herman Seidl.
Fig. 3. For Chicago, 2007, Jenny Holzer, 10 electronic signs with amber diodes 2.36 • 295.13 • 641.875 in.; 5.9 • 749.6 • 1,630.3 cm. Installation: Jenny Holzer, Fondation Beyeler, Riehen/Basel, Switzerland, 2009 Text: Under a Rock, 1986 © 2007 Jenny Holzer, member Artists Rights Society (ARS), NY Photo: Lili Holzer-Glier. (Used with permission.)
Ken Rinaldo is an artist, theorist / author creating interactive installations that blur the boundaries between organic and inorganic matter and focused on the co-evolution between living and evolving technological cultures. His works have been commissioned and presented nationally and internationally: the Vancouver Olympics, Canada; World Ocean Museum, Russia; Itau Museum, Brazil; Biennial Electronic Arts, Australia; Transmediale, Germany; Arco, Spain; Kiasma Museum, Finland, and Museum of Contemporary Art, in Chicago. Rinaldo was the recipient of first prize for Avida 3.0, Spain and an Award of Distinction from Ars Electronica, Austria. He has been featured on TV internationally and reviewed broadly in Art and Electronic Media, Edward Shanken; Art + Science, Steve Wilson; Digital Art, Christiane Paul; New York Times and Wired Magazine. Rinaldo directs the Art & Technology program at The Ohio State University, in Columbus, Ohio.