Open Access Arts and Humanities Journals

The Open Arts Journal addresses the demand for a rigorously compiled, peer-reviewed platform for arts scholarship open to diverse participants. Our dissemination is global, spanning multiple communities including practitioners and historians of art, architecture and design, curators and arts policy-makers, and researchers in the arts and heritage sectors.

Open Arts Journal emphasises innovation, in content and medium and by virtue of a bespoke digital design. Our contributors encompass a wide range of scholars, from professionals to provocateurs, with original visual essays and polemics; reflections on art from curators, historians and artists; and the fruits of rigorous theoretical, historical or longitudinal research.

Our content is fully searchable and highly visible to the main search engines, major libraries around the world (including the European Library), and a growing list of arts practitioner and scholarly associations. Every contribution carries a permanent Digital Object Identifier (DOI) and is protected under a Creative Commons licence. We have provided the option to download entire issues in low resolution, in order to ensure accessibility for our readers using a low bandwidth or with only fleeting or limited access to the web. Images on the site are searchable through captions and clickable cross-references, and a complement of high-resolution versions is there in our image gallery to assist with ‘close looking’.

Scan is an online journal, magazine and gallery, devoted to the media arts and culture, hosted by the Department of Media, Music, Communication and Cultural Studies at Macquarie University, Sydney.

The journal is refereed (ISSN 1449-1818), concerned with both the aesthetics and political economy of media arts, as practised in both new and traditional forms. The magazine contains non-refereed, informal pieces on media arts and related culture. The gallery contains online and digital art works.

The approach of both the journal and magazine is inter-disciplinary, drawing on media studies, cultural studies, media law, information and technology studies, fine arts and philosophy. Scan considers developments in network culture, digital media, screen arts, digital art, music and audio arts, as well as the culture enveloping these practices and technologies.

Scan has recently been redesigned and older content has not yet been migrated. For the time being please use the link to the pre-2012 archive until all content has been moved across.

ephemera is an independent journal founded in 2001. ephemera provides its content free of charge, and charges its readers only with free thought.

ephemera encourages contributions that explicitly engage with theoretical and conceptual understandings of organizational issues, organizational processes and organizational life. This does not preclude empirical studies or commentaries on contemporary issues, but such contributions consider how theory and practice intersect in these cases. We especially publish articles that apply or develop theoretical insights that are not part of the established canon of organization studies. ephemera counters the current hegemonization of social theory and operates at the borders of organization studies in that it continuously seeks to question what organization studies is and what it can become.

Senses of Cinema is an online journal devoted to the serious and eclectic discussion of cinema. We believe cinema is an art that can take many forms, from the industrially-produced blockbuster to the hand-crafted experimental work; we also aim to encourage awareness of the histories of such diverse forms. As an Australian-based journal, we have a special commitment to the regular, wide-ranging analysis and critique of Australian cinema, past and present. Senses of Cinema is primarily concerned with ideas about particular films or bodies of work, but also with the regimes (ideological, economic and so forth) under which films are produced and viewed, and with the more abstract theoretical and philosophical issues raised by film study.

As well, we believe that a cinephilic understanding of the moving image provides the necessary basis for a radical critique of other media and of the global “image culture”. We are open to a range of critical approaches (auteurist, formalist, psychoanalytic, humanist…) and encourage contributors to experiment with different forms of writing (personal memoir, academic essay, journalistic report, poetic evocation…).

Australian Humanities Review provides a forum for open intellectual debate across humanities disciplines, about all aspects of social, cultural and political life, primarily (but not exclusively) with reference to Australia. It aims to present new and challenging debates in the humanities to both an academic and a non-academic readership, both within and outside of Australia.

AHR welcomes contributions from scholars working in all disciplines of the humanities, including literary and film studies, cultural and media studies, gender studies, history, politics, philosophy, sociology and anthropology. Please note that we do not publish poetry or creative writing. All articles published in AHR are blind refereed by two academic reviewers, either by members of the editorial board, or by external referees where special expertise is required

The Journal is being established on the following key grounds: we believe that audience research, conceived this widely, is of enormous potential importance and value, yet at present it is in many respects under-developed and under-recognised. Even where important work has already been done, and published, audience research struggles for recognition, while at the same time often untested claims and assumptions about 'audiences’ are used, sometimes influentially, within both public and academic debates.

Audience research is by its very nature complicated. It involves the examination of the ways in which people find many different kinds of meaning and pleasure, in response to communicative and participative processes involving the use of symbol systems, narratives, forms of talk and knowledge, the full range of sensory modes of experiencing and complex semiotic arrays. The people who engage in these complexes encounter them within social and cultural environments and historical moments. And the researchers themselves inevitably belong within intellectual, cultural and political traditions, which play roles both in the formulation and understanding of the research process, and in how those researched may respond to research situations.

Launched in 2008, Cultural Landscapes understands culture in a broad way, as a way of life, including cultural practices and phenomena of all kinds—media representations, media and literary texts, consumer cultures, youth subcultures, performance and display practices, as well as other aspects of popular culture and everyday life.

Our journal provides a critical and much-needed forum in which diverse work in the Humanities and Social Sciences can be published. We encourage interdisciplinary perspectives and methodologies. At the same, we demand a rigorous engagement with issues of cultural research, theory, and practice. We especially encourage work that explicitly seeks to link the humanities and social sciences, combining a variety of methods of interpretation and analysis to explore the production, distribution, and consumption of cultural phenomena in their social context.

Cultural Landscapes is an open-access, online academic journal of Cultural Studies based in the Cultural Studies Program at Columbia College Chicago. The journal has a special commitment to publishing the work of undergraduate students, graduate students, and emerging scholars in the field of Cultural Studies.