Su Ballard (University of Wollongong)
Glen Fuller (University of Canberra)
Andrew Murphie (University of New South Wales, Sydney)
Su Ballard (University of Wollongong)
Lone Bertelsen (Independent Scholar, Sydney)
Danny Butt (National Institute of Creative Arts and Industries, University of Auckland)
Glen Fuller (University of Canberra)
Lisa Gye (Swinburne University, Melbourne Australia)
Ross Harley (University of New South Wales, Sydney)
Adrian Miles (RMIT, Melbourne)
Lizzie Muller (University of Technology, Sydney)
Anna Munster (University of New South Wales, Sydney)
Andrew Murphie (University of New South Wales)
Brett Neilson (University of Western Sydney)
Elena Razlogova (Concordia University, Montréal)
Ingrid Richardson (Murdoch University, Perth)
Ned Rossiter (University of Western Sydney)
Mat Wall-Smith (Independent Scholar, Sydney)
Mitchell Whitelaw (Canberra University)
Belinda Barnet (Swinburne University of Technology, Melbourne)
Linda Carroli (Harbinger Consulting, Australian Network for Art and Technology)
Chris Chesher (University of Sydney)
Felicity Colman (Manchester Metropolitan University)
Melinda Cooper (University of Sydney)
Kate Crawford (University of New South Wales, Sydney)
Sean Cubitt (University of Southampton)
Michael Dieter (University of Amsterdam)
Sher Doruff (Amsterdam School of the Arts)
Pia Ednie-Brown (RMIT, Melbourne)
Mary Flanagan (Dartmouth College, New Hampshire)
Terry Flew (Queensland University of Technology, Brisbane)
Kelli Fuery (Chapman University, California)
Gary Genosko (University of Ontario, Canada)
Phil Graham (Queensland University of Technology, Brisbane)
Melissa Gregg (University of Sydney)
Maren Hartmann (University of the Arts, Berlin)
Robert Hassan (Swinburne University of Technology, Melbourne)
Larissa Hjorth (RMIT, Melbourne)
Teri Hoskin (Artist/electronic writing research ensemble. Adelaide)
Troels Degn Johansson (University of Copenhagen)
Paul Jones (University of New South Wales, Sydney)
Andrew Kenyon (University of Melbourne)
Julian Kucklich (Mediadesignhochschule, Berlin)
Elaine Lally (University of Technology, Sydney)
Geert Lovink (University of Amsterdam)
Niall Lucy (Curtin University, Perth)
Adrian Mackenzie (Lancaster University)
Lev Manovich (University of California, San Diego)
Thomas Markussen (Aarhus School of Architecture)
Graham Meikle (Stirling University, Scotland)
Catherine Mills (University of Sydney)
Esther Milne (Swinburne University of Technology, Melbourne)
Timothy Murray (Cornell University, New York)
Jussi Parikka (University of Southampton)
Simon Penny (University of California, Irvine)
Andy Polaine (Lucerne University of Applied Sciences and Arts)
John Potts (Macquarie University, Sydney)
Melinda Rackham (RMIT, Melbourne)
Philip Roe (Central Queensland University, Bundaberg)
Ned Rossiter (University of Western Sydney)
John Scannell (Macquarie University, Sydney)
Sha Xin Wei (Concordia University, Montréal)
Kate Southworth (iRes Centre for Research in Interactive Art and Design, University College, Falmouth, UK)
John Sutton (Macquarie University, Sydney)
Tiziana Terranova (Università di Napoli L’Orientale’, Italy)
David Teh (National University of Singapore)
Nathaniel Tkacz (Warwick University)
Darren Tofts (Swinburne University of Technology, Melbourne)
Gregory L. Ulmer (University of Florida)
José van Dijck (University of Amsterdam)
Jill Walker (University of Bergen)
Shujen Wang (Emerson College, Boston)
The Fibreculture Journal is a refereed journal.
Contributions reprinted from other sources, and invited contributions (including introductions to other articles) will not be sent out for review unless the author so requests.
All other contributions in the ‘Articles’ section will be automatically sent out for double, blind peer review.
The process is as follows:
An article is submitted, in the form outlined in our Guidelines for Submission, and we require that the author is not identifiable from the text, and that information about the author is provided in a front page, separate from the text of the article.
The editor reads the article, and decides whether its content is appropriate to the journal.
Receipt of the article is acknowledged, and the editor notifies the author either that it is not appropriate to our journal or that it will be sent out for refereeing.
The editor approaches possible referees from among the Board and list of other people who have indicated their willingness to act in this capacity: no article is sent until the referee has agreed to read it in the time allocated.
The article (minus the identifying front page) is forwarded to two referees, with the journal’s “Referee Report Form”. The two referees independently read, assess and report on the article.
The editor reads these reports and decides whether or not to publish. If the decision is not to publish, the author is notified, and provided with reasons for the decision. If the decision is to publish, the author is provided with the referees’ reports and is invited to resubmit after making any amendments required by the editor on the advice of the referees.
The author rewrites and re-submits. The editor negotiates any further changes with the author till both are satisfied.
We publish with a default CC-BY-NC-ND license, but this is negotiable with authors. The issue editors must obtain permissions and choices of license from the authors (using the appropriate form—see below).
Issue editors are responsible for getting signed permissions (the authors’ final submission form), which include the authors’ choice of license.
The Managing Editor and Journal Management Team are responsible for putting the right license onto the article involved.
All manuscripts submitted to the Fibreculture Journal should be original and not be under consideration for another publication.
Authors license publication in the Fibreculture Journal in print and electronic form.
Please Note: Articles not conforming to the Fibreculture Journal‘s style guide may not be considered. It is also the case that, although the Fibreculture Journal editors will often work to edit manuscripts, we are not always able to publish articles that require extensive editing in order to conform to the standards of the journal.
In general, follow these procedures:
1. Word length
Articles and bibliographic essays should be between 5000 – 12,000 words in length.
If in doubt, consult the editors of your issue.
2. Submission Procedures
Send as email attachment as a “rich text format” (RTF) file. Include in the email message a statement of which system and program has been used. Send email to either the editors of the issue involved, as per the Call for Papers, or, if in doubt, to firstname.lastname@example.org, with the subject line <SUBMISSION Fibreculture Journal>.
If you are submitting in some other format than text, write to the editors, as above, first.
Images should be sent as separate files as either GIF or JPG. Do not embed images into word documents. Try to keep file sizes to a minimum to speed download.
Under no circumstances will the Fibreculture Journal/the editors accept articles under consideration elsewhere for publication. Be aware of this before you submit an article to Fibreculture Journal.
Email address: email@example.com
Associate Professor Andrew Murphie
Editor, the Fibreculture Journal,
School of English, Media and Performing Arts
Faculty of Arts and Social Sciences
University of New South Wales
3. All submissions should be accompanied by the following information on a separate page at the beginning of the text:
Name(s), Institutional affiliation(s), email(s) and surface mail addresses and fax no.(s) of the person(s) submitting;
Title of the text and the issue for which it is submitted.
An abstract of around 100 words.
A short paragraph (40-60 words) about the contributor(s), giving the kind of information that readers may wish to know, such as name, institutional affiliation, leadership roles, recent publications, research interests. This paragraph should appear immediately after the last paragraph of the article.
1. Layout for articles NOT submitted in HTML
General rule – keep it simple, avoid formatting . This means: Use single spacing between lines, justify on left only.
Do not use tabs at any time. Mark paragraph breaks with one extra “hard return”.
Do not use bold or underlining at any time: for emphasis or titles, use italics.
Notes should not be embedded into the text. When endnoting, place the number of the endnote after the text in brackets and add the endnote to the bottom of the article. Eg. The text goes here and the endnote reference comes after. 
NB, the endnote reference comes AFTER and not before the full-stop. Use square not curly brackets. Try and avoid placing the endnote reference mid-sentence – i.e. place endnote reference at the end of the sentence where possible.
·Spelling – retain ‘s’ (and not ‘z’)
Use single quotation marks round quotes less than two lines long, and run these in the text.
Use in-text referencing, with reference details after the ‘quote’ (May, 2002: 34).
Indent quotes three or more lines long by 1 cm, without quotation marks, in a separate paragraph. Do not indent right margin.
Do not italicise quotes, except for emphasis. Acknowledge added emphasis immediately after the citation as “my emphasis”: e.g. (Ronell, 1989: 186; my emphasis).
Quotes within quotes should be distinguished by double quotation marks e.g. Hansen (110) speaks of a 1908 article which ‘emphasizes a German exhibitor’s efforts to procure “scenes from the Rocky Mountains, forest views, and flowing cascades”.’ (single quotation marks surround the quote from Hansen at p.110; double quotation marks surround the words quoted by Hansen at this point)
3. Reference Style Guide
IF you have no references, please list SUGGESTED FURTHER READING at the end of your piece.
All book, journal, film, artwork titles in italics. List alphabetically by author.
For more than one author, use “and” not “&”.
For the first reference of an author in your article, include their first name. Thereafter refer to surname only.
Please Note: Please do not autonumber your endnote references but insert the reference number ‘manually’ in both the text, and in the Notes. Autonumbering creates difficulty for those putting the document online.
Manovich, Lev. The Language of New Media (Cambridge, Mass.: MIT Press, 2001), 18-21.
Critical Art Ensemble. The Electronic Disturbance (New York: Autonomedia, 1994).
TRANSLATED BOOKS (original date of publication is second)
Alliez, Éric. Capital Times: Tales from the Conquest of Time, trans. Georges Van Den Abbeele, forw. Gilles Deleuze (Minneapolis: University of Minnesota Press, 1996; 1991).
Lazzarato, Maurizio. ‘Immaterial Labor’, trans. Paul Colilli and Ed Emory in Radical Thought in Italy: a Potential Politics, eds. Paolo Virno and Michael Hardt (Minneapolis: University of Minnesota Press, 1996), 133-147.
Morris-Suzuki, Tessa. ‘For and Againsts NGOs: the Politics of the Lived World’, New Left Review 2 (Mar-Apr, 2000): 63-84.
Lash, Scott. ‘Reflexivity as Non-Linearity’, Theory, Culture & Society 20.2 (2003): 49-57.
Kittler, Friedrich A. ‘Gramophone, Film, Typewriter’, trans. Dorothea Von Mücke and Philippe L. Similon, October 41 (1987): 101-118.
Wang, Shujen. ‘”From the Cold War to the Wired World?” – Copyright
Re-Contextualized: Piracy, Hollywood, State and Globalization, unpublished manuscript [or if: PhD Thesis, University of Whatever] (2001).
Do not bother with date of access; when making reference to postings to mailing lists, provide the full url – this will enable a link to be made from your article to the reference.
Stalder, Felix and Hirch, Jesse. ‘Open Source Intelligence’, First Monday 7.6 (2002), http://firstmonday.org/issues/issue7_6/stalder/index.html
Holmes, Brian. ‘The Flexible Personality’ (Parts 1 & 2), posting to nettime mailing list, 5 January (2002), http://amsterdam.nettime.org/Lists-Archives/nettime-l-0201/msg00012.html
Balibar, Étienne and Osborne, Peter. ‘Conjectures and Conjunctures [Interview]‘, Radical Philosophy 97 (September/October 1999): 30-41.
Guattari, Félix. ‘Institutional Practice and Politics: Interview with Jacques Pain’, trans. Lang Baker in The Guattari Reader, ed. Gary Genosko (Oxford: Blackwell, 1995), 121-138.
Lunenfeld, Peter (ed.). The Digital Dialectic: New Essays on New Media (Cambridge, Mass.: MIT Press, 1999).
Hardt, Michael and Virno Paolo (eds). Radical Thought in Italy: A Potential Politics (Minneapolis: University of Minnesota Press, 1996).
Kay, Alan. ‘Computer Software’, in Paul Mayer (ed.) Computer Media and Communication: A Reader (Oxford: Oxford University Press, 1999), 129-137.
Robins, Kevin. ‘Will Images Move Us Still?’, in Martin Lister (ed.) The Photographic Image in Digital Culture (London: Routledge,
As X says, ‘the world tastes pink’ (Author, Year: 127).
As X (Year: 128-129) says, ‘tomorrow is forgotten’, yet one could contest this view.
Use single (not double) and curly rather than straight quotes.
Use double quotes for contested terms/phrase, etc. E.g. The term “community” is one that has attracted much debate.
This is the full document concerning FCJ’s principles, guidelines and forms—FCJ Guidelines 2010. You will need to skim all of this, and read the more relevant parts carefully if you are going to work with FCJ. We have placed a few of the contained forms separately, as below.
Referee’s Report—FCJ referee’s report—pdf
Issue Editor Agreement—FCJ issue editor form—pdf
For Authors: Submissions Forms—FCJ author forms—pdf