Axon: Creative Explorations Number 12
The 12th issue of Axon focuses on creative play and will be published in March 2017.
“[P]lay is the laboratory of the possible. To play fully and imaginatively is to step sideways into another reality, between the cracks of ordinary life. Although that ordinary world, so full of cumbersome routines and responsibilities, is still visible to us, its images, strangely, are robbed of their powers.” Thomas Henricks, Play Reconsidered.
The idea that play operates “between the cracks of ordinary life” goes some way to explaining why play is one of the most underexplored of the human activities and conditions. Although a body of literature exists to describe play’s role in the landscapes of childhood, explorations of play as adult cultural practice remain patchy and diffuse at best.
Play has variously been positioned as benign, crucial, intractable, frivolous, developmental, wasteful and subversive, and in response play has enduringly evaded attempts at definition and delimitation. It thus remains the case that, while we as adults know what play looks and feels like, we’re less sure of its function in our lives.
And yet, the creative proposition is hard to imagine were it not for play—whether play with ideas, words, imagery, shapes or performance. At the heart of the creative process—serious or not—play is surely premised. This issue seeks to explore the role of play in creative and cultural process and practice, and invite contributions that address:
- The various intersections between play and creativity
- Play, games and gaming
- The role of play in cultural practice
- Play as pathway to innovation
- Play, fantasy and literature
- Play and childhood
- Play as intrinsic reward and its link with creative process
- Architecture and play with form and function
- Play with words
- The role of play in design
- Play as subversion and disruption
A special section of the issue, “Writing Games”, will be devoted to works which think about and/or perform both as games (structured play) and as literature. For this section we are open to text-based, digital and mixed media works, collaborative and single-author works, works which invite reader interaction, and those which draw on the many and varied traditions of gaming, from surrealist writing games to digital role-playing to professional gambling. We are interested in reading proposals for any ideas which may require special publication support, such as multi-staged collaborations or platform-specific digital works. Expressions of interest for “Writing Games” should be submitted by 15/3/2016.
Deadline for submissions: Friday July 29
Consultant editors for this edition are Cathy Hope, Bethaney Turner and Jen Crawford.
Articles, essays, papers and other scholarly contributions are peer reviewed. The reviewing process is double blind, so that neither author(s) nor reviewers should know of the others’ identities at any time.
In producing a research-based paper, authors should be drawing on a sound framework of scholarship relevant to the paper’s topic, rather than purely on personal experience and/or anecdotal evidence, although some personal and/or anecdotal material is a legitimate part of many good papers. Papers for Axon are welcome to take a creative or lateral approach to their topic, or to mix more than one genre of writing, or to incorporate images or other graphic work. Papers are expected to make a contribution that extends the current literature in the field. Final revised articles, papers, essay and interviews (including endnotes) will be a maximum of 6,000 words in length.
The journal does not, as a rule, publish short fiction or excerpts from longer fictional works, but creative work other than poems will be accepted for refereeing if they make a distinctive contribution to knowledge that extends the current scholarly literature in the field and are accompanied by a 250-word exegetical statement for publication. The statement should indicate the research significance of the creative piece and will draw on a sound framework of methodology and scholarship relevant to the work’s topic.
All poetry published in Axon will be solicited by the journal’s editors. Unsolicited contributions of poetry will not be read or acknowledged.
All papers and other contributions to Axon: Creative Explorations will be vetted for final acceptance by the journal’s editors. If you are unfamiliar with the kind and quality of contributions, including the scholarly standards of papers, published in the journal, please read recent issues.
- Author-date system in-text, with a listing of works cited
- Endnotes, not footnotes (please use minimally and include in word count)
DeLillo, D 2001 The body artist, London: Picador
Woods, C 2006 ‘Writing, textual culture and the humanities’, in N Krauth and T Brady (eds) Creative writing: theory beyond practice, Teneriffe: Post Pressed, 121-135
Print journal article
Eickelkamp, U 2010 ‘Children and youth in Aboriginal Australia: an overview of the literature’, Anthropological Forum 20: 2, 147-66
DeLillo, D 2001 ‘In the ruins of the future’, Harper’s magazine, December, 33-40
Krauth, N 2002 ‘The preface as exegesis’ TEXT 6: 1, at
http://www.textjournal.com.au/april02/krauth.htm (accessed 12 March 2011)
Kulikowski, M 2007 ‘Mayday 23: world population becomes more urban than rural’, NC State University News Services, 22 May, at http://news.ncsu.edu/releases/2007/may/104.html (accessed 9 September 2011)
Kroll J 2004 ‘The exegesis and the gentle reader/writer’ TEXT Special Issue Website Series No 3, at http://www.textjournal.com.au/speciss/issue3/kroll.htm (accessed 10 July 2011)
McEwan, I 2001 ‘Only love and then oblivion’, The Guardian special report: terrorism in the US, at www.guardian.co.uk/usterrorism, 15 September (accessed 17 September 2011)
Zizek, S 2001 ‘Welcome to the desert of the real!’
http://web.mit.edu/cms/reconstructions/interpretations/desertreal.html, 15 September (accessed 19 October 2011)
General formatting instructions
Please submit articles, essays and interviews as Word documents, adhering to the following detail.
- Front matter
<One line break>
<One line break>
<One line break>
Abstract directly below
<One line break>
Bio note immediately below
<One line break>
Words immediately below – initial caps, spaced en-dashes
- Body text
Endnote references set as superscript
Single quotation marks throughout except for quotations within quotations
Indented quotes (3 lines or more)
- End matter
- Works cited
Styled as detailed above
- When completed
Save as word document author surname.doc
e.g. Bloggs.doc or Bloggs&Smith.doc