Transforming Design, Production and Consumption for a Circular Economy Hosted by the China Australia Centre for Sustainable Urban Development, University of South Australia, Adelaide, September 20-23, 2018

[Conference website will be live from November 30, 2017]


Over the last two decades, much effort has gone into developing strategies to reduce waste and emissions in products, systems and the urban environment. Accelerating rates of consumption and discard, however, continue to undermine many of these larger efforts. It is clear that we need new systems-based approaches to reduce rising levels of resource consumption and energy use in order to implement a more equitable and environmentally sustainable society and economy. Building upon the experience of our first conference, Unmaking Waste: Transforming Production and Consumption in Time and Place (May 2015), Unmaking Waste 2018 will address the following themes from a similarly multidisciplinary perspective:

1. Eco-Design and Development:

Designing and managing objects, buildings, precincts and systems to reduce resource and energy use, and increase environmental and human wellbeing.

2. Sustainable Consumption:

Transforming consumption and service provision, including marketing, to better suit a resource-constrained, environmentally challenged world.

3. Waste Minimization:

Reducing waste and pollution at all scales, in all domains and activities, and transforming waste and pollution into states of greater value for reuse.

4. Circular Economy:

Optimizing social, material and economic relations to further the goals of the Circular Economy, including product and environment life-extension, reuse and repair.

Call for Abstracts (Deadline: December 15, 2017)

Abstracts should be no more than 300 words, and address the purpose, methods, and implications of the work to be presented. They should include a proposed title, and nominate one or more of the above themes that seem most relevant to the subject. All abstracts, conference presentations and full papers must be in English. Abstracts must be received no later than 5pm, December 15, 2017. All abstracts will be peer-reviewed and all submissions will receive a written response with feedback from the Conference Organising Committee by February 2nd, 2018. The authors of successful abstracts will then be invited to submit their full papers for review by May 4th, 2018.

Full papers will be double-blind peer reviewed, and returned to their authors for revision before June 8th, 2018. Papers that are accepted, or accepted pending revision, will have until July 30th 2018, for completion. The full accepted, corrected papers will be published online in time for the conference. It is anticipated that a selection of these papers will be published in an edited book or special issue of a journal. More details on this will be available on the conference website when they come to hand.

Please send titles, abstracts, with nominated theme(s) and a separate short author bio in a word file to no later than December 15th, 2017.


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Drama Therapy Review: New Call for Papers

DTR Call for Papers for General Issue 4.2 


Submission deadline: 1 February 2018


Drama Therapy Review (DTR) welcomes research about the therapeutic uses of drama and performance in health, educational, community, organizational, and theatre contexts. 



DTR Call for Papers for Special Issue 5.1: Drama Therapy in Schools


Submission deadline: 1 August 2018


Guest Co-Editors: Jason Frydman and Christine Mayor

Principal Editor: Nisha Sajnani


This special issue of Drama Therapy Review seeks research on the impact of drama therapy across a variety of educational settings. Drama therapists have a long history of working in schools where their work has been valued as a unique method of identifying individual strengths and challenges, promoting positive socialization, complementing learning, increasing emotional regulation skills and student retention, supporting school climate, and improving academic performance. However, it remains important to demonstrate the efficacy of drama therapy in schools.


With this in mind, we invite contributions that offer evidence of the impact of drama therapy across traditional K-12 settings, preschools, university/college venues, and specialized schools. Contributors are encouraged to conceptualize how drama therapy services support site specific ecologies, promote student and/or faculty wellness, facilitate systems integration within and outside of the school, and contribute to educational requirements. While articles articulating theory or methods are welcome, we encourage articles that apply theory into practice and that are supported by quantitative and/or qualitative evidence.


DTR welcomes contributions from a wide range of scholarly work including, but not limited to:


• Quantitative studies

• Qualitative analysis

• Practice and arts-based research

• Reviews

• Reports

• Interviews

• Commentaries


The editorial board assesses articles for the quality of scholarly and critical content. The principal language is English; however, the journal will consider articles in other languages for which reviewers can be accessed, with abstracts in English. Editorial assistance may be given to those whose work is worthy of inclusion, but for whom the language of the article is not their first, or for whom the written word is not their forte. There is an explicit policy of making the articles stylistically accessible and readable to the range of readership. 


To submit work for consideration please download our submission guidelines and email


Download the DTR Notes for Contributors here.


Journal contributors will receive a free PDF copy of their final work upon publication.

Print copies of the journal may also be purchased by contributors at half price.


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Call for Papers: EUPOP 2018

Charles University, Prague, July 24th – 26th, 2018

Deadline: February 27th 2018
Individual paper and panel contributions are welcomed for the seventh annual
international conference of the European Popular Culture Association (EPCA), to be held at the Charles University, Prague (Celetná 20), July 24th – 26th, 2018.
EUPOP 2018 will explore European popular culture in all its various forms. This includes, but is by no means limited to, the following topics: European Film (past and present), Television, Music, Costume and Performance, Celebrity, The Body, Fashion, New Media, Popular Literature and Graphic Novels, Queer Studies, Sport, Curation, and Digital Culture.
A special emphasis this year will be on the idea of European Identity in all its
diversity. Papers and Complete Panels for all strands will be subject to peer review. Proposals for individual presentations must not exceed 20 minutes in length, and those for panels limited to 90 minutes. In the latter case, please provide a short description of the panel along with individual abstracts. Poster presentations and video projections are also warmly welcomed.
There will be opportunities for networking and publishing within the EPCA. Presenters at EUPOP 2018 will be encouraged to develop their papers for publication in a number of Intellect journals, including the EPCA’s Journal of European Popular Culture.
In addition,we are hoping to produce an edited collection of essays. Journal editors will be working closely with strand convenors – a full list of Intellect journals is available at: Intellect Books
Proposals comprising a 300-word abstract, your full name, affiliation, and contact details (as a Word-file attachment, not a PDF) should be submitted to Kari Kallioniemi ( by 27/02/2018. Receipt of proposals will be acknowledged via e-mail.
The conference draft program will be announced in May 2018, along with the conference registration and accommodation details. The likely conference fee will be 100 euros (student), and 150 euros (other). The fee includes coffees, lunches, evening reception & dinner, and EPCA Membership (includes subscription to the European Journal of Popular Culture, Intellect Press).
The keynote speakers will be announced in early 2018.
The European Popular Culture Association
The European Popular Culture Association (EPCA) promotes the study of popular culture from, in, and about Europe. Popular culture involves a wide range of activities, material forms and audiences. EPCA aims to examine and discuss these different aspects as they relate both to Europe and to Europeans across the globe, whether contemporary or historical.
EUPOP 2018 is organised by:
European Popular Culture Association (EPCA):
International Institute for Popular Culture (IIPC):
EPCA President, Kari Kallioniemi,
EPCA Vice-President, Pamela Church Gibson,
EPCA Secretary, Kimi Kärki,
EPCA Treasurer, Pekka Kolehmainen,
EPCA Membership Secretary, Graham Roberts,
Local organizer contact: Karel Šima, (Charles University, Prague)
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Intellect journals accepted for ESCI

We are delighted to announce that the following journals have been accepted for inclusion in the Web of Science: Emerging Sources Citation Index (ESCI) ESCI includes influential journals covering a variety of disciplines, reflecting the growing global body of science and scholarly activity.

Journal of Popular Television (JPTV):,id=216/

Editor: James Leggott, Northumbria University, UK

Film, Fashion & Consumption (FFC):,id=203/

Editor: Pamela Church Gibson, London College of Fashion, University of the Arts London

Journal of Adaptation in Film & Performance (JAFP):,id=153/

Editors: Prof Richard J. Hand, University of East Anglia, Dr Márta Minier, University of South Wales

Applied Theatre Research (ATR):,id=218/

Editors: Peter O'Connor, The University of Auckland, John O'Toole, The University of Melbourne

Drama Therapy Review (DTR):,id=241/

Editor: Nisha Sajnani, New York University

Choreographic Practices (CHOR):,id=170/

Editors: Vida L. Midgelow, Middlesex University, Jane M. Bacon, University of Chichester

Journal of Dance & Somatic Practices (JDSP):,id=160/

Editor: Sarah Whatley, Coventry University

International Journal of Community Music (IJCM):,id=149/

Editor: Lee Higgins, York St John University

Journal of Music, Technology & Education (JMTE):,id=152/

Editor: Andrew King, University of Hull

Art, Design & Communication in Higher Education (ADCHE):,id=139/

Editor: Susan Orr, University of the Arts London

Journal of Contemporary Chinese Art (JCCA):,id=231/

Editor: Jiang Jiehong

Journal of Contemporary Painting (JCP):,id=239/

Editor: Rebecca Fortnum, Royal College of Art

Journal of Illustration (JILL):,id=233/

Editor: Desdemona McCannon, Manchester School of Art

Call for papers

For call for papers, to view the free issue, or for further information on these titles, please visit the journals' home pages on the above links.

Read more Posted by Katy Dalli at 09:51 (0) comments
Journal of Science & Popular Culture 1.1 is out now!

Intellect is delighted to announce that the inaugural issue of the Journal of Science & Popular Culture is now available.

Science permeates contemporary culture at multiple levels, from the technology in our daily lives to our dreams of other worlds in fiction. The Journal of Science & Popular Culture is a peer-reviewed academic publication that seeks to explore the complex and evolving connections between science and global society.

To celebrate its release JSPC 1.1 has been made available free to download. Please click here to access this issue.  

Articles within this issue include (partial list):

Reality bytes: American and global culture in the era of infoglut

Authors: Peter Swirski

Page Start: 13

In the age of environmental catastrophes, political upheavals and economic meltdowns a mere informational crisis may not sound too worrisome. But even as we try not to lose too much sleep over it, our behaviour is best modelled by the proverbial ostrich burying its head in the sand. My contention is that we better start losing sleep over it. Informationally we live in the era of Cliffpocalypsemageddonacaust, with the toxic consequences it has on the entire system of generating and disseminating knowledge, no matter which side of the Two Cultures divide you hail from. My goal is to spell out some of these consequences, although with little expectation of kindling a retrenchment, let alone reform. This is because, if anything I say below is true, in all likelihood it is too late for that.

It’s alive in the laboratory of the mind: Frankenstein, thought experiment and facing the future of science

Authors: Steven Gil

Page Start: 27

Science fiction splices actuality, eventuality and imagination into creations that provide novel and sometimes highly influential perspectives on science and society. One of the greatest examples of this is Mary Shelley’s Frankenstein – the infamous tale of a man who literally splices dead flesh into a new form and bestows this creation with life. By examining Frankenstein as a thought experiment, this article demonstrates how science fiction can become a commentary on scientific activity, give insight about where science might lead, and provide a resource for discussing and framing new science.

Pathogens, vermin and strigoi: Contagion science and vampire myth in Guillermo del Toro’s The Strain

Authors: Julia Echeverría

Page Start: 43

The first season of Guillermo del Toro’s television series, The Strain (2014–present) ingeniously merges the classical Bram Stoker vampire legend with the virus outbreak narrative by means of familiar contagion imagery and clichés that include the premise of an infected airplane and the running-against-the-clock efforts of the CDC protagonist, Dr Goodweather. The series offers three complementary perspectives that broaden the scope of vampirism: the medical vision of the protagonist, who insists on treating the outbreak as if it were an infectious disease; the pest exterminator Vasily who refers to these beings as vermin and rat-people; and the mythical vampire approach of a Jewish Holocaust survivor who brands them strigoi. This article argues that the epidemiological perspective introduced by del Toro provides verisimilitude to the vampire myth while at the same time introducing contemporary discourses of virality and adding dichotomies of purity and corruption. By exploring the use of the genre’s conventions in del Toro’s imaginative universe, it intends to prove how a television series can be the ideal medium for unfolding epidemic narratives.

Read more Posted by Katy Dalli at 10:56 (0) comments
Call for Papers for Fashion, Costume and Visual Cultures Conference, Zagreb 17-19 July 2018

Individual academic paper, panel contributions, round table discussion and Pecha Kucha presentation proposals are invited for the inaugural Fashion, Costume and Visual Cultures conference to be held at the University of the Zagreb in Croatia, 17 – 19 July 2018.

Fashion, Costume and Visual Cultures is an international, interdisciplinary conference which aims to bring together established and emerging academics and practitioners in order to explore key issues, theoretical debates, new methodologies and case studies exploring fashion and costume design and their distinct, yet simultaneously symbiotic relationship within contemporary visual cultures. 


Themes include, but are not limited to:


• Film, fashion and consumption

• Fashion, style and popular culture

• Fashion and star-celebrity culture

• Fashion cities and street style

• Fashion branding, promotion and advertising

• Established and emerging fashion designers

• Costume designers and makers


• Costume and performance

• Skin as costume

• Costume and identities

• Digital fashion films

• Fashion & photography: advertising, editorial and fine art

• Fashion on and beyond the catwalk

• Fashion and costume in the museum

T• he blockbuster exhibition


• Fashion and art

• Fashion in painting, illustration and graphic design

• Fan cultures & pilgrimages

• Cosplay

• Subcultures

• Queer fashion

• Fashion and performance art


Throughout the conference there will be visits to arts and cultural venues, together with opportunities for networking and publishing. Presenters at Fashion and Costume in Visual Cultures will be encouraged to develop their papers for publication in a number of Intellect journals, including Film, Fashion & Consumption, and Fashion, Style & Popular Culture. Journal editors will be working closely with strand convenors and a full list of Intellect journals is available at: 

Submissions for all strands will be subject to peer review. Proposals for individual presentations must not exceed 20 minutes in length, and those for panels limited to 90 minutes. Round table discussions, video projections, Pecha Kucha and poster presentations are welcomed in addition to formal academic papers.


Proposals comprising a 250-word abstract, your full name, affiliation, and contact details (as a Word .doc attachment) should be submitted to Sarah Gilligan and Petra Krpan at:

Please note, the conference will be held in English. 

Receipt of proposals will be acknowledged via e-mail.




Closing date for abstracts: 23 February 2018

Acceptance letters (via email): 16 March 2018

Abstracts & draft programme available & registration opens: 27 April 2018


Early Bird Discount ends: 25 May 2018

Conference registration closes: 15 June 2018

Final version of programme available: 29 June 2018. 


Conference fee: Early bird / students: 200 Euros (TBC). Standard rate: 250 Euros (TBC). The conference fee includes coffees, lunches and an evening reception & buffet. 

Additional tourist / cultural events may be charged separately. 

Please note: the conference committee will be working in co-operation with the European Popular Culture Association, with the aim of aligning the dates for the Fashion, Costume and Visual Cultures conference so that delegates have the potential to also present at EUPOP 2018 in Prague.


Read more Posted by Becky at 09:50 (0) comments
Ideas are for moving bodies and the magical incantation of the manifesto: Q&A with Laura Cull & Will Daddario

Manifesto Now! maps the current rebirth of the manifesto as it appears at the crossroads of philosophy, performance and politics. Intellect asks the co-editors why they believe this resurgence demands a renewed interrogation of the form...and is a call to action.

Intellect: What is a manifesto and why explore it as performance scholars?
WD: Manifestos dwell within the nexus of text, action, imagination, past, present, and future.They are written documents, usually drafted by people seeking to advance a system of beliefs or a plan of action. But looking closer, [the manifesto] defies typical categories of language. They do more than report on a situation; they are more of a direct address, as though they were scripts for a speech or live monologue. Manifestos mean nothing at all if the listener or reader takes no action after reading, and in this way the document launches into the terrain of performance.
Intellect: How does the manifesto engage performance studies?
WD: Manifestos are not simply “performative” texts because they don’t merely do what they say. Instead, they coax actions that seem downright impossible within  current political situations. Manifestos tend toward magical incantation insofar as they conjure imagined futures in which great change has already occurred, even though the socio-political conditions that make each individual manifesto possible reveal the fact that such magnitude of change seems highly unlikely.
LCÓM: Back in 2010, for Performance Studies international #16, Beth Hoffmann and Idevised "Public Philosophy: A Manifesto Workshop" in collaboration with six core participants: Franziska Bork Petersen, Shane Boyle, Will Daddario, Matthew Goulish, Lin Hixson, and Esa Kirkkopelto. This workshop explored manifestos as an act of self-situating and self-explicating; as a kind of writing towards an invisible public or a people-to- come; as both a genre and a highly contextualized act. We wondered whether the manifesto might help expose the kinds of publics that our own work as a “performance studies community” addresses but also fails to address. What has attracted many artists and scholars to the field of performance has been precisely this sense of openness, indefiniteness and inclusivity. But even ostensibly inclusive categories like performance have their exclusions and develop their habits and conventions at certain times. I came to performance from a background in the visual arts – but one where I’d always been interested in how nonhuman things perform or act, including materials like paint, light, fabric and so on. The sense of the “stuff” of visual art as having a life of its own and its own way of thinking – which was often resistant to or in excess of what I was trying to do with or to it – was always something that interested or attracted me practically as well as conceptually.
WD: I think Laura and I share the belief that artfulness has always been embedded within philosophical writing. When I read a particularly curmudgeonly chapter from Adorno, for example, I think, “But wait, he dictated an early draft of this sentence to his wife as he walked around his living room, and then he went back and took that record of his live speech and fiddled with it until it was sharp enough to cut through my mind.” How, then, am I to read Adorno if I truly recognize the live speech that sits at the center of all of his writing, writing that seems so writerly and erudite but must always be read as a spoken pronouncement? What happens if I re-read all of Adorno with this notion that he is performing his philosophy? I mean, if students were introduced to Foucault by watching videos of him speaking instead of reading some of his books, they would have a completely different understanding of this work. His body can’t keep still when he talks because his thought is animating his every limb. Thus, when I read Foucault, I have to comport myself to that particular energy and try to allow the BIG ideas to sit inside me until they move me-- in some way. None of this is metaphorical: ideas are for moving bodies.
Intellect: What launched Manifesto Now!?
LCÓM: It originated with that PSi #16 workshop, which focused on the idea of the
manifesto as explicitly concerned with an act of ‘making public’ – the word manifesto which comes from the Latin, manifestare: “to make public; to reveal”. The session combined people talking ‘about’ manifestos and people performing manifestos. Manifesto Now!, like the session, combines and expands upon this– and questions the extent to which all texts perform, even when they conceive themselves as description or explanation (of manifestos, or anything else).
Intellect: Is the manifesto experiencing a resurgence?
LCÓM: For my own part, I’d been writing and performing manifestos for a while – both as an individual, and as part of the artists collective SpRoUt which contributed to the Manifesto Marathon. In the book, we consider whether the manifesto is enjoying something of a revival – thinking, for instance, of such UK- based examples as Hans Ulrich Obrist’s 2008 Manifesto Marathon at the Serpentine Gallery, London; the international activist network, The Manifesto Club, founded in 2006; the comedian Mark Thomas’ project The People’s Manifesto; and the manifesto statement announcing Nicolas Bourriaud’s Altermodern exhibition as the 2009 Tate Triennial. The ongoing sense of crisis in contemporary politics – which, if anything, seems to have become even darker and more poisonous post-Trump– might support an ongoing concern with the manifesto, albeit not a naively optimistic or nostalgic, we hope.
WD: The art of protest has become more and more important in the last five years. There is a strong critique of academia that runs throughout the entire book, and as we know too well these critiques have proven prescient. As such, they all take the form of instructions for readers who seek methods of resisting and opposing the status quo. Due to the confluence of word and action in the manifesto, the critiques in Manifesto Now! are goads to performance, participation, and action.
Manifesto Now! features contributions from trailblazing artists, scholars and activists currently working in the United States, the United Kingdom and Finland, Manifesto Now! is indispensible to scholars across the disciplines. Filled with examples of manifestos and critical thinking about manifestos, it contains a wide variety of critical methodologies that students can analyse, deconstruct and emulate.
You can find out more about Manifesto Now! here
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Journal of Applied Journalism & Media Studies 6.3

Intellect is delighted to announce that the latest issue of the Journal of Applied Journalism & Media Studies is now available.

This special issue of JAJMS aims to open a critical dialogue about the concept of inclusive journalism and the practice that sheds light on voices traditionally left out in news coverage.

Articles within this issue include (partial list):

Inclusive journalism: How to shed light on voices traditionally left out in news coverage

Authors: Verica Rupar

Page Start: 417

This note introduces the concept of inclusive journalism in a bid to encourage a critical dialogue of the press’s ability to challenge hegemonic notions of inequality under the rubric of social diversity. Over the last century journalism’s authority in fast processing of information has moved from the privileged position of reporting life to the more privileged position of reporting life that matters. Its capacity to separate individual lives from the life of society has enabled it to turn persons into representative of the groups. By forming and un-forming groups and by constructing a sense of who we are in relation to others, the journalistic sector of the media participates in the larger process of inclusion and exclusion.

Translation in the newsroom: Losing voices in multilingual newsflows

Authors: Daniel Perrin, Maureen Ehrensberger-Dow and Marta Zampa

Page Start: 463

The information, events and voices that receive media attention are highly dependent on their linguistic form – when the language is accessible to journalists, the news is more likely to enter public discourse. If the voices are in languages other than that of the region the journalist is writing for, then translation strategies can influence not only the news style but also the selection and perspectivation of the information presented. In this article, the authors discuss how working between languages inside the newsroom can endanger the flow of accurate information. Among other stakeholders, we focus on journalists as key gatekeepers in global and local newsflows who need to cope with cross-linguistic communication in their processes of news production. Initial analyses show that translation matters in the newsroom, but it is far from being part of systematic professional socialization or subject to quality measures.

How diverse are Egypt’s media: A look at the post-revolution presidential elections

Authors: Rasha Abdulla

Page Start: 507

This article examines media diversity and inclusiveness of the coverage in Egypt through a content analysis of Egyptian media during the first Presidential elections following the 25 January revolution of 2011. Diversity is defined as the inclusiveness of different groups in terms of race, ethnicity, religion, nationality, age, income-based discrimination, gender and any other factors that make individuals or groups different from, but equal to, each other. The author used quantitative content analysis of four popular state and private newspapers and a critical analysis of the main television news bulletin and several talk shows. Overall, the coders analysed a total of 5308 stories that were published on the elections in the four newspapers. They also analysed the main news bulletin and three talk shows on state and private satellite channels. Analysis started a week before and ended a week after each round of the Presidential elections for a total of 32 monitoring days. The research addressed diversity both in terms of the agents featured in the media and the topics mentioned/discussed. The results indicate that, even though the journalistic standards were sometimes reasonable, coverage ignored important issues of substance and all issues related to inclusiveness and diversity as they relate to women, children, the elderly, religious minorities and ethnic minorities. The study concludes that diversity issues are still largely ignored in the Egyptian media.

Read more Posted by Katy Dalli at 10:23 (0) comments
Art & the Public Sphere 6.1&2

We are delighted to announce the publication of a very special issue of Art & the Public Sphere, in collaboration with the Birmingham Big Art Project (BBAP), guest edited by Anna Santomauro with Mel Jordan. With six funded bursaries from BBAP, the journal has been able to support commentators actively engaged in public art now. Contributions utilize theories on the contemporary political and cultural condition (Robert Garnett, Joey Orr and Suzanne Lacy); consider new approaches to the function of art (Sabrina Deturk, Gemma Medina Estupiñán and Alessandra Saviotti, Kuba Szreder) and employ a more comprehensive concept of the public (Danielle Child, Janna Graham and Mel Jordan). Stuart Whipps provides a glorious visual essay on public art pieces in Birmingham. Through situating art and its publics in a broader critical framework, we hope that readers, scholars, viewers, artists, curators and commissioners will be able reassess the role and function of public art. To read more about BBAP click here.


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DRTP 3.1: Call for papers deadline extension

The deadline for the submission of papers for Drawing: Research, Theory, Practice 3.1 has been extended until 30th October 2017.

Call for Papers DRTP 3.1 ‘Drawing on Text’

This special guest-edited issue explores the relationship between writing and drawing. Topics for consideration concern writing, drawing, visual text, illustration, marginalia, illustrated letters, drawing with creative writing, writing with drawing, poetry as drawing, image based languages, and pictographs. We are inviting multi-cultural contributions with historical and/or contemporary emphasis, scholarly articles, critical essays, creative visual and textual research projectfs and profiles, and visual submissions of hybrid practices of drawing on text.

Drawing: Research, Theory, Practice (DRTP) promotes and disseminates contemporary drawing practice and research in its current cultural and disciplinary diversity. The journal encourages pluralist forms of discourse, addressing current issues of theory and practice. It is concerned with drawing as an interactive process and product, as a form of writing or visual narrative, as a model of representation; an investigative, descriptive or interpretive pursuit, a recording and communicative tool; an interactive and dynamic 'site of conception'; as performance, as support to critical thinking, an interpretative medium and as a site of production.

DRTP invites practitioners, researchers, educators and theorists in the disciplines of fine art, architecture, design, visual communication, technology, craft, animation, etc. to contribute articles, projects, essay and papers that deal with the various knowledges and representations of drawing.

We invite submissions for Vol 3, Issue 1 of the journal including:

Articles (5000 words, 1–6 images)

Research Projects (3000 words, 1–4 images)

Critical essays (3000 words, 1–4 images)

Profiles (1500 words, 1–2 images)

Featured Drawings (1–2 image and 1000 words)

Reviews (1500 words) on the latest books, media, museum and gallery exhibitions, conferences, performance, educational and research projects and events that relate to drawing.

Deadline: 30 October 2017

Submissions will be double-blind peer-reviewed and must be uploaded via the ‘Drawing: Research, Theory, Practice’ Intellect webpage:

Please follow this link, scroll down to ‘submit article’ and generate a user account.

Please submit a PDF Document with 1–6 embedded images (72 dpi), captioned, as Name_Surname.doc. On acceptance, a Word Document with separate images (300dpi) will be required via

All contributions should be original and not exceed 20 Mb.

All contributors should submit the Metadata (see Notes for Contributors)

Authors are responsible for copyright permissions (article [author] and images [artist or institutional copyright / photographer's permission]). Only copyright forms supplied by Intellect are accepted (hand-signed, scanned and returned as PDF files).

Please refer to the DRTP Notes for Contributors and to the Intellect House Guidelines for Style. Authors should ensure guidelines are adhered to; failing to do so leads to delays, and may result in the editor having to return or withdraw the submission.

All enquiries should be addressed to the principal editor: Dr Adriana Ionascu, Ulster University, School of Architecture,

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