NANO is currently accepting notes for our 2012 issues. Maximum submission length: 3,500 words (sound/film projects should be shorter than 10 minutes in duration). Please include an abstract (150 words). Electronic submission is preferred and should be sent as an email attachment using MS Word (doc.) or Rich Text Format (.rtf). Do not include your name on the attached document, but do include your name and the title of your note in the body of your email. All manuscripts should follow MLA guidelines for format, in-text citations, and works cited. Images, films, artwork, illustrations, and tables will be accepted for the presentation of ideas, and they should be submitted as attachments separate from the text in high-resolution formats. Please send any questions that you have to email@example.com.
Interviews and Reviews:
NANO is currently accepting brief interviews and reviews (book, film, installation, event) for upcoming issues. Maximum submission length: 1,500 words. Sound, video and image recordings are accepted (send in high-resolution formats). Send your ideas, questions, or completed interviews and reviews to firstname.lastname@example.org.
NANO wants to start and continue conversations. Please send your letters to us. All letters must be signed and include affiliation and address. Use the form on the Mission + Contact Us page, or send your letters to email@example.com.
Copyright and Permissions:
NANO expects that all submissions contain original work, not extracts or abridgements. Authors may use their NANO material in other publications provided that NANO is acknowledged as the original publisher. Authors are responsible for obtaining permission for reproducing copyright text, art, video, or other media. As an academic, peer-reviewed journal, whose mission is education, Fair Use rules of copyright apply to NANO. Send questions to the editor.
Call for Papers: Issue 6
Deadline: 28 June 2013
Special Issues: Cartography and Narrative
Building upon the extensive work on literary geography and cartographic cinema, a range of scholars in the humanities have endorsed mapping as a conceptual framework to improve our understating of narratives. Meanwhile, geographers and cartographers have recognized the importance of mapping personal stories and vernacular knowledge in order to better understand their contribution to the production of places. Examples of this fusion between maps and narratives range from GPS drawing to walking as a way of addressing the performative nature of mapping and from the political mapping of journeys and stories of illegal migrants crossing borders to mapping of feelings and emotions.
In order to further explore these relationships between maps and narratives, the commission on Art and Cartography of the International Cartographic Association (ICA) organized and held a workshop on these themes in Zurich, Switzerland, in June 2012.
We are now seeking academic and artistic contributions to be published in two special issues of two academic journals.
The first special issue will be published in NANO – New American Notes Online (issue 6) and co-edited by Laurene Vaughan and Matthew Bissen. NANO is a peer-reviewed online journal capable of publishing a full range of media and designed to encourage new interpretations and new possibilities. We are particularly interested in submissions that explore and articulate representations of place via narrative structures, especially the different ways such places and structures are recorded, communicated, and critiqued. We invite submissions that address forms of these two broad questions: how do narratives traverse through a “somewhere”? And, equally important, how are real and imagined places narrated? Acceptable formats, sizes and lengths are listed below.
The second special issue will be published in The Cartographic Journal and co-edited by Sébastien Caquard and William Cartwright. It will compile a range of academic papers providing more of a cartographic perspective on the relationships between maps and narratives. Both of these issues will be cross-referenced to give more visibility to the publications as well as to support the interdisciplinary dimension of this project.
To view The Cartographic Journal CFP, click here.
Keywords: Each author is asked to submit 5 keywords to accompany their submission.
The following are some suggestions: Cartography, Mapping, Place, Space, Non-Fiction, Memoir, Critical, Documentary, Film, Representation, Realism.
Schedule: Deadlines concerning the special issue to be published in NANO:
- Jan. 28th, 2013: Call for papers
- Jun. 28th, 2013: Deadline to submit full papers & works to Laurene Vaughan and Matthew Bissen
- Aug. 30th, 2013: Comments sent by the editors to the authors
- Oct. 18th, 2013: Final version of the papers & works submitted by the authors to NANO for the review process (For the detailed instructions to the authors, please refer to NANO's Submission page.)
- Nov. 15th, 2013: End of the review process
- Jan. 31st, 2014: Final versions of the selected papers sent by the authors to NANO
- May 2014: Publication of the special issue in NANO
(This will coincide with the publication of work in the the parallel issue on Cartographies and Narrative in The Cartographic Journal)
Submission Guidelines: Format Guidelines concerning the special issue to be published in NANO: Papers with images –3,500 words maximum; 15 images maximum in high resolution—JPEG format preferred; Film Shorts –5-10 minutes maximum using .mov, .mp4, or .wmv formats (min res = 426 x 400, max res 1920 x 1080); Sound Essays – 10 minutes maximum using .mp3 encoding at bitrates above 256 kbit/s (preferred). Electronic submission preferred. Text submissions should be sent as an email attachment using MS Word (doc.) or Rich Text Format (.rtf). Refer to the list above for multimedia submissions. Do not include your name on the attached document, but do include your name and the title of your note in the body of your email. All manuscripts should follow MLA guidelines for format, in-text citations, and works cited. Please send any questions that you have to Laurene Vaughan and Matthew Bissen (email addresses above).
Copyright and Permissions: NANO expects that all submissions contain original work, not extracts or abridgements. Authors may use their NANO material in other publications provided that NANO is acknowledged as the original publisher. Authors are responsible for obtaining permission for reproducing copyright text, art, video, or other media. As an academic, peer-reviewed journal, whose mission is education, Fair Use rules of copyright apply to NANO. Send questions to the editor.
We would appreciate it if you could inform us in February if you plan to submit a paper or work to one of these special issues. Please feel free to contact Sébastien Caquard or William Cartwright concerning The Cartographic Journal, and Laurene Vaughan and Matthew Bissen concerning NANO.
We are looking forward to receiving your contributions for these special issues.
Laurene Vaughan, Associate Professor Design and Communication, in the School of Media and Communication, RMIT University, Melbourne; Neirenberg Chair, School of Design, Carnegie Mellon University
Matthew Bissen, Architect; PhD candidate in Geography at The Graduate Center (City University of New York); Part-time faculty at Parsons The New School for Design and Hunter College
Sébastien Caquard, Assistant Professor in the Department of Geography, Planning and Environment; Concordia University, Montréal
William Cartwright, Professor of Cartography and Geographical Visualization, School of Mathematical and Geospatial Sciences; RMIT University, Melbourne
Call for Paper: Issue 5
Deadline: 1 October 2013
Special Theme: Digital Humanities, Public Humanities
Scholars, artists, and new media practitioners—including Sharon Daniel, Erik Loyer, Alex Juhasz, Liz Losh, Tara McPherson, Kathleen Woodward, Sarah Elwood, Margaret Rhee, Kim Christen, and Alan Liu—have recently investigated the intersections of digital methods with cultural criticism, demonstrating how investments in technologies and computation are not necessarily antithetical to investments in critical theory and social justice. Building on these investments, this special issue of NANO asks how, when, and for whom digital humanities is also public humanities, with particular attention to project-based research. For instance:
• Which digital humanities projects are currently engaging contemporary politics and social exclusion, under what assumptions, and through what mechanisms?
• How are these projects articulating relationships with their publics and community partners, and through what platforms and forms of collaboration?
• How are public humanities projects being preserved, circulated, and exhibited through digital methods? By whom? Using what protocols and technologies?
• Does public humanities have “data”? If so, then how is that data defined or structured? If not, then what are some concerns about data-driven research?
• What might the histories of digital humanities (however defined) learn from social justice activism, participatory research, context provision, and witnessing?
• How are building, making, or coding activities embedded in social justice initiatives?
Across text, image, audio, and video, authors are invited to individually or collaboratively submit notes or brief "reports" detailing projects that work across digital and public humanities, including projects that do not identify with either term.
For this issue, a note or "report" implies a submission that, at a minimum:
• Focuses on an existing project, which is in development or already live;
• Provides screengrabs, screencasts, or snapshots of that project and (where possible) treats them as evidence for an argument about the project;
• Intersects questions of computation and technology with questions of culture and social justice; and
• Articulates a narrative for the project, including (where applicable) its workflows, motivations, interventions, management, and partners.
Invited by NANO, the editor of this special issue is the Maker Lab in the Humanities at the University of Victoria, including Adèle Barclay, Nina Belojevic, Alex Christie, Jana Millar Usiskin, Stephen Ross, Jentery Sayers, and Katie Tanigawa.
SUBMISSION GUIDELINES: For this special issue, we are accepting submissions across text, image, video, and audio. All submissions should be submitted to both firstname.lastname@example.org and email@example.com by 11:59pm on 1 October 2013 in your time zone. The body of the email should include your name(s), your affiliation(s), the title of the submission, five keywords describing the submission, and media type(s) and format(s) for the submission. Where possible, the submissions should be attached to the email. Should a submission exceed the email attachment limit, then the body of the email should also include a URL for the submission. The URL should not be discoverable on the web (e.g., it should be behind a passcode-protected wall, in a private cyberlocker, or not visible by search engines). Do not include your name(s) in any file name. Your name(s) should only be included in the body of your email.
If your submission is in text, then it should not exceed 3500 words (DOC(X)s and RTFs are preferred). Up to 15 high-resolution (at least 600 dpi) images are permitted (JPEGs are preferred) per submission. Video submissions should be 3 to 10 minutes in duration (MOVs and MP4s are preferred; minimum resolution: 426 x 400; maximum resolution: 1920 x 1080). Audio essays should also be 3 to 10 minutes in duration (MP3s and WAVs are preferred, encoded at 256 kbit/s or higher). Both audio and video can also be embedded in any text submission (no more than 5 instances of embedded media per submission).
All submissions should follow MLA guidelines for format, in-text citations, and works cited. Please email any questions about the submission guidelines to firstname.lastname@example.org and email@example.com.
SCHEDULE: Below is a tentative timeline for this special issue:
COPYRIGHT AND PERMISSIONS: NANO expects that all submissions contain original work, not extracts or abridgements. Authors may use their NANO material in other publications provided that NANO is acknowledged as the original publisher. Authors are responsible for obtaining permission for reproducing copyright text, art, video, or other media. As an academic, peer-reviewed journal, whose mission is education, Fair Use rules of copyright apply to NANO. Please send any questions related to copyright and permissions to firstname.lastname@example.org.
QUESTIONS: Please do not hesitate to contact the Maker Lab in the Humanities (special issue editor) at email@example.com with any questions or concerns about this special issue.
We are looking forward to receiving your contributions to this issue of NANO.
The Maker Lab in the Humanities at the University of Victoria
maker.uvic.ca | firstname.lastname@example.org
Special Issue Editors: Adèle Barclay, Nina Belojevic, Alex Christie, Jana Millar Usiskin, Stephen Ross, Jentery Sayers, and Katie Tanigawa
Call for Papers: Issue 4
New Deadline: 26 April 2013
Special Theme: Competition
Last July, the world witnessed Olympic athletes perform at their limits for personal and national glory. But, London restaurants also competed for customers. Journalists from around the globe vied for the best story. Fans, too, formed an important part of Olympic competition, even if they were thousands of miles away from the physical action. Fans may not have competed on the track, but fans did compete against the fans of opposing teams.
Why do we feel compelled to compete, to watch competitions, and to pick sides?
Even if NANO invokes the royal “we” to describe who witnessed this competitive macro event, we do so in light of its scale and scope: 200 nations will send representatives to the XXX Olympiad.
Competition is old and vast. Some even argue that it is innate. People compete for housing, jobs, mates, political office, airtime, downtime, the biggest toys, the newest ideas, and the right sneakers. This special issue of NANO seeks submissions on competition writ large.
Three question tracks:
1. Are we competitive because we are animals, or, do we become animals through competition?
2. What do people compete for, and how do they go about it? Is competition cruel, sublime, or something in between?
3. What is new in competition theory? What new competitions are out there? What are the counter-narratives to competition narratives?
A partial list of possible categories/topics:
Business: stock markets, markets, jobs, ethics, globalization, protectionism
Economics: capitalism, Marxism, socialism, oligopoly, monopoly, other systems
Education: getting into college, testing, grades, scholarships, awards, grants
Games: gambling, casinos, cards, board games, schoolyard/informal play
Politics: presidential races, primaries, polls, long shots, running mates, the democratic process, democracy, monarchy
Science: competition theory, game theory, evolution, survival of the fittest, biology, mating
Sports: team, individual, popular, unpopular, dangerous, violent, official, unofficial
Sporting Events: Olympics, Tour de France, World Cup, Super Bowl, World Series
See Submission Guidelines (right sidebar of this page).
Send queries or completed notes to email@example.com or firstname.lastname@example.org
Call for Papers: Issue 3
Deadline: 30 March 2012
NEW Deadline: 30 April 2012
Special Theme: Evaluation, Critique, Prizes, and Peer Review
What are the best and newest methods for creating, evaluating, and disseminating scholarly and creative work? This question motivates the next issue of NANO. As digital formats help to foster new ways to share and critique written and artistic work, as more people try to squeeze through the narrowing bottleneck of publishing, approval, and jobs, something has to give, or at least change.
Four guiding questions:
1. How have changes to the university, to scholarly publishing, and to digital publishing formats changed peer review? Will changes to peer review change the nature and methods of scholarship?
2. How have creative contests in the fields of poetry, short story, painting, sculpture, or design changed in terms of evaluation, prizes, and prestige?
3. What can the humanities learn from other disciplines in terms of evaluation and peer review?
4. How can we solve some of the current problems?
print/book/online culture, peer review, online peer review, poetry contests, short story contests, art and design contests, evaluation, judging, Pulitzer Prize, Nobel Prize, merit, approval, assessment, credit, collaboration and/or single author, contribution, attribution, plagiarism/remixing, authority/media bias, tenure and promotion, grading, popular culture evaluation, online discussion, digital/paper editing, marking up, peer-to-peer review, external linking, criticism, critique, crowd-sourcing, advice, monograph, scholarly electronic editions, Google, Google Scholar, e-books, e-journals, Wikipedia, Creative Commons, research tools, research blogs, editing tools, archiving, coding, open access
See Submission Guidelines.
Send queries or completed notes to email@example.com
Call for Papers: Issue 2
Deadline: 17 July 2011
Special Theme: Mystery, the Unknown, Surprise
What’s up? What went down? How are you doing? What happened? We all want to know what is going on. We want knowledge. We want to solve the crime. We want to get it right. Yet, we also get a thrill from being in suspense. We like surprise parties and a good mystery novel. This issue of NANO is dedicated to both the sleuth and the mystery maker.
Three question clusters:
1. Is storytelling a way to solve a mystery? Is the lyric the poetic mystery par excellence? Isn’t the chief characteristic of drama the unraveling of an intricate mystery that we call plot? Is art more about finding one’s way or creating enigma? What is the relationship between mystery and surprise?
2. Why are mysteries so powerful? Think of the prevalence of crime shows on television. Entire bookstores are dedicated just to mystery novels. Is there a business/profit angle to mystery? What might neuroscience say about the desire to seek answers to vexing questions? Are we hard-wired to be in mystery, or, are we hard-wired to figure out mysteries? And where does pleasure and desire enter into the equation?
3. The unknown and the future seem closely connected, but is the unknown also about the past? Religion is concerned with the unknown, and, perhaps, with making us comfortable with the unknown. Adventure and the unknown are correlates too. Does travel writing/cinema satiate our desire for the unknown, but in a safe manner? Do tourists simply like the soft surprise? Does the unknown help us frame ideas of difference and otherness?
suspense, ambiguity, who-done-it, secret, open secret, mystique, mysticism, crime novel, mystery novel, mystery theatre, mystery play, mystery shopper, getting/being lost, religion and the unknown, guessing, negative capability, mystery and cinema, obscurity, difference, the veil, cloak and dagger, magic, surprise attack, surprise party, shock jock, discovery, enigma, aphorism, allegory, Gordian knot, scientific method, reason and unreason
See Submission Guidelines.
Send queries or completed notes to firstname.lastname@example.org