Guidelines: Guidelines for Proposals and Submissions to Media-N



Proposals for Themed Editions

Please send proposals (as described below) to the Pat Badani, Editor in Chief: 

Media-N accepts proposals for Themed Editions on an ongoing basis and as a result of an open CFP sent out every year. These proposals are reviewed and selected by Media-N’s editorial board twice a year. If accepted, the author(s) making the proposal are invited to act as Guest Editor(s) for either the fall issue or the spring issue. Please format your submission like this:

  • Name(s) Last name(s):
  • Title/Affiliation: (such as the institution/organization you work with – if applicable, or independent scholar/practitioner.)
  • Email(s):
  • Proposal Title:
  • Keywords: (sequentially list 10 words that are central to your essay; separate each word with a comma, like this: erasure, photography, imagination, perception, experience, phenomenology, epistemology.)
  • Proposal Description: Word count 500 to 1000 word count.
  • CV: 3 pages max.

Note:The journal adheres to the Chicago Manual of Style, 16th Edition. Articles will not be published if guidelines are not met. To learn more about what is expected of a Guest Editor, please read our Guidelines for Guest Editors before you make a submission:


Submissions to the Reviews and Reports section

Media-N welcomes Reviews and Reports for fall and spring issues. These submissions are reviewed and selected by Media-N’s editorial board. Submission deadlines are February 15th and November 15th. The Editor-in-Chief (Pat Badani), the Reviews and Reports Editor and the Editorial Board will review submissions.

This section of the journal offers opportunities for new media authors to address topics of current interest in brief, exploratory essays of 2,000 words. Please note that Media-N must be the first journal publisher of the submitted text.

  • Please send your submission as a Microsoft Word doc or docx
  • In your email subject area write: Submissions: Reviews & Reports section.
  • Attach Supporting material (Media): 2 images, or 1 video (25MB max) – or 1 sound file (25MB max). Do NOT embed media within your essay’s Word doc.

Submissions should contain the following information, in this particular order:

  • a-Essay title
  • b-Author’s name
  • c-Author’s academic position/affiliation/ etc: (eg: Independent artist, or researcher / Assistant Professor / Professor…)
  • d- Keywords (sequentially list 10 words that are central to your essay; separate each word with a comma, like this: erasure, photography, imagination, perception, experience, phenomenology, epistemology.)
  • e-The body of the essay
  • f-References
  • g-Author’s Bio – 50 word count (email and/or www. can be included at the end of the Bio.)
  • h-Copyright Statements (text and image release forms):
  • i- Media – submit as attachments, file(s) that illustrate your essay: images, video, and/or sound files (do not embed images onto your Word doc)


Note: Media-N adheres to the publication guidelines set out by the Chicago Manual of Style, 16th Edition ( Articles will not be published if guidelines are not met. 


Editorial Standards  & Submission Guidelines for Authors


For all submissions, please follow these editorial guidelines:

Set your Word Docx. like this:

  • Font: Times New Roman
  • Size: 12
  • Styles: Normal
  • Alignment and Spacing: Horizontal: Left aligned; Single space: Single

-Give extra spacing between paragraphs.

-Do not format or indent your text or use the tab fea­ture.

-Do not include a Bibliography.

References: All references should be in endnote format. These should be listed at the end of the essay under the heading: References. We will not accept Word formatted references or endnotes.

-Reference numbers within the essay should be placed at the end of the sentence, with a space after the full stop, like this. [1]

-List references using single space, at the END of the essay under the heading: References with unformatted numbers, like so:   1.    2.    3. Do NOT use: [1] [2] [3]

-In the text, set off titles of works (for example, books, films, and artworks) with italics.

-Use capitalization headline style and bold for distinguishing heading sections from surrounding text.

-For direct quotations remember to use “double inverted commas.”

-Use ‘single inverted commas’ sparingly to stress a particular concept or word.

-Note that the comma is placed within the ‘inverted commas,’ like 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.


Follow the referencing style in the examples below:

Referencing Sytle: We use the Chicago Manual of Style, 16th Edition ( Please refer to the samples below.



  1. Jay David Bolter and Richard Grusin, Remediation (Massachusetts: MIT Press, 1999), 80.
  2. 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

  1. Ibid, 130.


Books with multiple authors

  1. Geoffry C. Ward and Ken Burns, The War: An Intimate History, 1941-1945 (New York: Knopf, 2001), 52.


Edited Books

  1. 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.
  2. 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

  1. Geet Lovnik, “Radical Media Pragmatism (1998),” in Dark Fiber (Massachusetts: MIT Press, 2002), 218–225.



  1. Sarah Pink, “Sensory digital photography,” Visual Studies 26, no. 1 (2011): 4–13.
  2. Michael O’Shea and Sol Sneltvedt, “Mindscape: An At­tempt to Visualize the Workings of the Brain,” Leonardo 39, no. 5 (2006): 455–56.


Online Journals

  1. Gueorgi Kossinets and Duncan J. Watts, “Origins of Homophily in an Evolving Social Network,” American Journal of Sociology 115 (2009): 411, accessed February 28, 2010, doi: 10.1086/599247.


Magazines and Newspapers (online)

  1. Rory Cellan-Jones, “Hargreaves Review: Who has won the copyrights wars?,” BBC News Technology, May 17, 2011, accessed June 29, 2011,



  1. Lev Manovich’s Official Web Site, “Interview for Spiegel,” August, 2006, accessed June 29, 2011,,1518,429390,00.html.


Citations taken from secondary sources

  1. Josiah Strong, as quoted in Michael Hunt, “American Ideology: Visions of National Greatness and Racism,” in Thomas G. Paterson and Stephen G. Rabe, eds., Imperial Surge: The United States Abroad: The 1890s – Early 1900s (Lexington, MA: D.C. Heath, 1992), 16.

Media Captions – Image/video/sound


Please follow this format for art-works and media captions:


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.)



Media Submission Guidelines and Formats



  1. a) Submit media to illustrate your essay: images, videos, and/or sound files.
  2. b) In your essay, please indicate where the 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.
  3. c) 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 file twice: one low resolution JPG or TIFF, 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.
  4. d) You can email or send the information below via WeTransfer:

-media (images, video, sound)

-Word doc with a list of your media captions

-Media Copyright Release form:

Naming your files

When submitting your media, identify your files like this:






Media specs

Please note that we will need images to be sent in two formats and sizes: small files for web publication, and large files for print publication!

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: 25 MB (max.) Quicktime format, max width 640px. Please submit a capture of the frame you want used along with your video file, we will need the still for the print version.

Sound specs: 25 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:

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 + cience, 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.


If you have questions, please email the Editor-in-Chief: Pat Badani (