Ten years ago, when we started JAR, the journal was conceived to change how artistic research presented itself. This has meant, first of all, to show alternatives to the distinction between practice and theory that dominated the discourse at the time. While there were other, albeit few, journals and publishing channels around, there was something ‘theoretical’ about them, most importantly with regard to their form, which seemed to have allowed for only limited engagement with media, other than text.
Assessing new knowledges that emerge from expositions of practice as research puts a particular kind of responsibility on peer-reviewers (as well as editors, and ultimately also readers) that goes beyond a simple application of expertise. While a reviewer’s expertise may tell us which elements of a submission are already dealt with in a particular field, the other, arguably more interesting and innovative parts of a submission are more complex to assess, since they are by definition departures from the very field a reviewer is an expert in.
Insofar as artistic research takes place within rich fabrics of practice, it is always also embedded in a multiplicity of languages – both verbal and non-verbal ones. Requiring submissions in English is – in some aspects – like asking for text as the only mode in which to report on an artistic research project: fixed formats that restrict options of articulation.