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Submission Preparation Checklist

As part of the submission process, authors are required to check off their submission's compliance with all of the following items, and submissions may be returned to authors that do not adhere to these guidelines.

  • The submission has not been previously published, nor is it before another journal for consideration.
  • The submission file is in Microsoft Word or RTF document file format.
  • Where available, URL/DOI for the references has been provided.
  • The text uses a 12-point font; 1,5 linespacing; employs italics, rather than underlining (except with URL addresses).
  • The text adheres to the stylistic and bibliographic requirements outlined in the Author Guidelines.

Author Guidelines

Author Guidelines

 

Articles must be original contributions (that have not already or simoultaneously been submitted to other Journals). All submissions are subject to double blind peer-review and, if accepted, authors may be required to make revisions, based on feedback from the reviewers.

In case of multiple authors, the author who is submitting the manuscript will be considered as corresponding author.

 

Articles must be written in English.

 

Characters/word count: 24.000-30.000 characters (spaces included), or 3.500-5.000 words.

 

Abstract: 150-200 words.

 

5 keywords

 

Accepted file formats: Microsoft Word, or RTF document.

 

Font:

Text: Times New Roman 12 pt; line spacing: 1,5

Block quote: Times New Roman 11 pt; line spacing: 1,5

Footnotes: Times New Roman 10 pt; line spacing: 1,5

 

Footnotes:

Use footnotes instead of endnotes. The exponent referencing a footnote always follows punctuation and quotation marks:

Ex.

Kant defines it as the “free play between imagination and understanding,24

Presence can be defined as the illusion of non-mediation.17

 

Quotation marks: For quotations always use double typographic quotation marks “…” (not neutral "…", nor double chevrons « … » ).

 

In case of quotes within quotes use single quotation marks ‘…’.

 

Hyphen (-) is used to join words or parts of words , whereas dash (–) is used to indicate a range or an aside.

Ex.

three-dimensional, trompe-l’œil, quasi-cinema, so-called, phantom-ride, object-oriented form of art, Didi-Huberman, Merleau-Ponty, 2011-2017.

 

Please use the en dash (–) and not the em dash (—).

Ex.

… an aspect of immersive experience – whether inspired by engaging with a game, reading a text, looking at or watching a still or moving image, or entering into a space mediated by any other aesthetic device, or any combination thereof – that is too often neglected.

The edge of the picture and – imaginarily – beyond it, …

 

 

Please never use bold or underlined text.

 

Italics is used for:

 

titles of books and works:

Ex.

Immanuel Kant’s Critics of Judgement

Charlotte Davies’ pioneering piece Osmose

 

foreign words in the text:

Ex.

This is par excellence the peculiar prerogative of this science …

The effects of illusionistic painting, such as trompe-l’œil

This is a topos that can be traced back over the ages within the history of art …

 

terms that the author needs to emphasise.

Ex.

Always use double typographic quotation marks.

Please never use underlined text.

 

N.B.

For words not being used in their litteral meaning, to emphasise that an instance of a word refers to the word itself rather than its associated concept, or to stress ironic or unusual meaning, or any non-standard usage of a word use double typographic quotation marks “…”.

Ex.

The etymology of the word “screen” seems to derive from Old Dutch “skirm”.

 

Original terms associated with words and lemmas in English translation will be indicated in italics and square brakets.

Ex.

…that Bredekamp defines as image or pictorial act [Bildakt].

Leon Battista Alberti compared the painting to an open window [aperta finestra].

 

Footnotes style sheet

 

In-text references should be cited in the “Notes and bibliography” system of The Chicago Manual of Style[1]. Please find below a set of examples of the various citation types. For more details, see chapter 14 of The Chicago Manual of Style.

If a direct quote is 25 words long or more it is called a block quote. For block quotes, omit the quotation marks, start the quote as a new paragraph on a new line and indent the whole quote 1 cm from the left-hand margin of the page.

 

Book

J.D. Bolter, R. Grusin, Remediation: Understanding New Media (Cambridge MA: MIT Press, 1998): 15.

M. DeLanda, Philosophy and Simulation: The Emergence of Synthetic Reason (London-Oxford-New York: Bloomsbury, 2015): 131-132.

In case a book has multiple editions, please indicate the year of the first edition immediately after the book title between brackets.

D. Hume, A Treatise of Human Nature (1739) (New York City: Penguin Random House, 1986).

The same goes for translated books:

I. Kant, The Critique of Judgment (1790), trans. P. Guyer, E. Matthews (Cambridge: Cambridge University Press, 2001)

L. Wiesing, Artificial Presence: Philosophical Studies in Image Theory (2005), trans. N.F. Schott (Stanford: Stanford University Press, 2010).

 

Edited Volume

F. Liptay, B. Dogramaci, eds., Immersion in the Visual Arts and Media (Leiden-Boston: Brill Rodopi, 2016): 7.

 

Book Chapter

P. Lichty, “The Aesthetics of Liminality: Augmentation as an Art Form,” in V. Geroimenko, ed., Augmented Reality Art: From an Emerging Technology to a Novel Creative Medium (Cham: Springer, 2018): 100-125, 119.

 

Journal article

L. Manovich, “The poetics of augmented space,” Visual Communication 5, no. 2 (2006): 219-240, 220.

J. Steuer, “Defining Virtual Reality: Dimensions Determining Telepresence,” Journal of Communication 42, no. 4 (1992): 73-93, 75 https://doi.org/10.1111/j.1460-2466.1992.tb00812.x.

 

If an article lists four or more authors, list only the first, followed by et al. (“and others”).

R.A. Bay et al., “Predicting Responses to Contemporary Environmental Change Using Evolutionary Response Architectures,” American Naturalist 189, no. 5 (May 2017): 463-473, 465, https://doi.org/10.1086/691233.

 

Website content

“About Yale: Yale Facts,” Yale University, accessed May 1, 2017, https://www.yale.edu/about-yale/yale-facts.

K. Bouman, “How to Take a Picture of a Black Hole,” filmed November 2016 at TEDxBeaconStreet, Brookline, MA, video, 12:51, https://www.ted.com/talks/katie_bouman_what_does_a_black_hole_look_like.

 

News or magazine article

R. Mead, “The Prophet of Dystopia,” New Yorker, April 17, 2017: 43.

F. Manjoo, “Snap Makes a Bet on the Cultural Supremacy of the Camera,” New York Times, March 8, 2017, https://www.nytimes.com/2017/03/08/technology/snap-makes-a-bet-on-the-cultural-supremacy-of-the-camera.html.

R. Pegoraro, “Apple’s iPhone Is Sleek, Smart and Simple,” Washington Post, July 5, 2007, LexisNexis Academic.

T. Pai, “The Squishy, Sugary History of Peeps,” Vox, April 11, 2017, http://www.vox.com/culture/2017/4/11/15209084/peeps-easter.

 

Social media content

Citations of content shared through social media can usually be limited to the text (as in the first example below). A note may be added if a more formal citation is needed.

P. Souza (@petesouza), “President Obama bids farewell to President Xi of China at the conclusion of the Nuclear Security Summit,” Instagram photo, April 1, 2016, https://www.instagram.com/p/BDrmfXTtNCt/.

Chicago Manual of Style, “Is the world ready for singular they? We thought so back in 1993,” Facebook, April 17, 2015, https://www.facebook.com/ChicagoManual/posts/10152906193679151.

 

Shortened notes

 

Please specify only author’s name, title and range of pages, as in the following examples:

J.D. Bolter, R. Grusin, Remediation: 14.

P. Lichty, “The Aesthetics of Liminality”: 118.

L. Manovich, “The poetics of augmented space”: 220.

 

 

[1] https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-1.html.

 

 

 

 

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