Digital Creativity stuff

Digital Creativity 26:2, special issue on Speculative Hardware


Digital Creativity is a major peer-reviewed journal at the intersection of the creative arts and digital technologies. It publishes articles of interest to those involved in the practical task and theoretical aspects of making or using digital media in creative contexts. By the term ‘creative arts’ we include such disciplines as fine art, graphic design, illustration, photography, printmaking, sculpture, 3D design, interaction design, product design, textile and fashion design, film making, animation, games design, music, dance, drama, creative writing, poetry, interior design, architecture, and urban design.

This special issue of Digital Creativity seeks to highlight relations between artists and designers working with software. That is with code at the level of the hardware. We are looking for papers that address post-digital creativity and different kinds of media expression in deep dependencies with hardware. After software’s illusory simulations what are we to make of hardware; what are we to do with the material conditions of audio-visuality? The issue asks: what is a speculative hardware for?

Papers are invited from two broad areas:

1. Papers offering critical reflections on post-digital practice as one centred on constructing hardware rather than on using software. We seek papers that articulate the many ways in which artists and designers are engaged with the emergence of new platforms.

For example in artists designing hardware as specific rather than ‘universal’ machines and in how such hardware enters into new, unknown and speculative relations with human and non-human environments.

2. Papers from artists or designers using new platforms for creative expression and from those exploring new hardware-interfaces in a variety of contexts but primarily in expanded audio-visual practices.

For example in the ways in which the environment Processing and the microcontroller Arduino have come to develop material co-dependencies. That is, in the ways in which audio-visual practices are “burnt into silicon” as media theorist Friedrich Kittler (1992) reflects in There is No Software.

Papers may emphasise different technical, cultural and philosophical approaches but should seek to address an art and design community whilst investigating the matter of hardware in technically rigorous ways.

Initial proposals should be extended abstracts in English, between 800-1200 words. The categories for final submission are Short Papers between 2500-3500 words, and Long Papers, between 5000-7000 words. The papers will be selected through a blind peer review process. Upon acceptance of the abstract, you will be sent further authors’ guidelines based on the Digital Creativity guidelines (Instructions for Authors) at

The extended abstract should include the following information: 1) Name of author(s) with email addresses and affiliation, if applicable 2) Title of the paper 3) Body of the abstract 4) Preliminary bibliography 5) Author(s)’s short bio(s) 6) Indication of whether the submission will be a short or a long paper.

Please forward your abstract as a PDF attachment in an e-mail addressed to:
Guest editor Derek Hales, , and to Editors of Digital Creativity:

Important dates:

Initial proposals (extended abstracts) deadline: 1st September 2014
Notification of extended abstract acceptance (by editors’ review): 1st October 2014
Final papers are due on: 1st November
Blind peer-reviews due on: 1st December
Revised final papers are due on: 15th January 2015
Special issue published: Summer/Fall 2015

Kittler, Friedrich Adolf  “There is no Software”, Stanford Literature Review, 9:1 (Spring 1992), pp 81-90.  Reprinted in Literature, Media, Information Systems, ed. John Johnston, Amsterdam, 1997, pp 147-155.