Editorial Standards / Style and Formatting Guidelines


Media-N publishes simultaneous Web and print versions of the journal. Online and print publications mirror each other in content but differ in design.

-The publication is freely available online, and the print version may be purchased through a print-on-demand service. Each has a unique ISSN.

Authors whose Themed Proposals have been selected and approved by Media-N’s Editorial Board are invited to act as Guest Editors for a specific journal issue. Guest Editors work closely with the Editor-in-Chief and with an Associate Editor who act in a support role to assist Guest Editors in setting up the blind peer-review process; in applying editorial guidelines; and in managing the editorial workflow in a timely manner. Guest Editors are responsible for drafting a CFP; recommending essays for publication; assembling all the textual and supporting material related to the publication such as: essays, copyright release forms, media (images, videos, sound files) and captions for art works; editing; copy-editing, and proofreading. It is important that all pertinent material be formatted according to the standards set out in our Publication Guidelines. To this end Guest Editors must clearly convey these guidelines to their authors from the onset.


Formatting and punctuation guidelines

Guest Editors are responsible for working with authors in editing content according to these guidelines.

    1. Word count: Content for Guest Edited publications have a word count limit of: 36,000 words. This word count includes references, captions for art works, and authors’ biographies (which should not exceed 150 words.) Guest Editors must take this total word count into account by calculating and setting the length of each essay submission according to the amount of contributing authors. For example: 36,000 words divided by 10 authors = 3,600. Thus, each essay will have a word count limit of 3.600 (this includes references, captions for art works, and authors’ biographies of no more than 150 words.)
    2. Headings: We suggest brief headings of no more than ten words.
    3. General formatting: Essay submissions should contain this information, in this particular order:
  • a-Essay title
  • b-Author’s name
  • c-Author’s academic position/affiliation/ etc: (eg: Independent artist, or researcher / Assistant Professor / Professor…)
  • d- Keywords (sequentially list 10 words that are central to your essay; separate each word with a comma, like this: erasure, photography, imagination, perception, experience, phenomenology, epistemology.)
  • e-The body of the essay
  • f-References
  • g-Author’s Bio – 50 word count (email and/or www. can be included at the end of the Bio.)
  • h-Copyright Statements (text and image release forms):
  • i- Media – submit as attachments, file(s) that illustrate your essay: images, video, and/or sound files (do not embed images onto your Word doc)

Note: Media-N adheres to the publication guidelines set out by the Chicago Manual of Style, 16th Edition ( Articles will not be published if guidelines are not met. 

Essays should be submitted as UNFORMATTED Word documents – that is to say, do not use Word’s automated formatting functions (such as Indentations; Styles; Headings; Bullets; page numbers and footnotes).

Please set your Word Docx. like this:
Font: Times New Roman
Size: 12
Styles: Normal
Alignment and Spacing: Horizontal: Left aligned; Single space: Single

  • Give extra spacing between paragraphs.
  • Do not indent your paragraphs or use the tab feature.
  • Do not include a Bibliography.
  • References: Include references or endnotes. We will not accept Word formatted references or endnotes. These should be listed at the end of the essay under the heading: References. Reference numbers within the essay should be placed at the end of the sentence, with a space after the full stop, like this. [1]
  • List references using single space, at the END of the essay under the heading: References with unformatted numbers, like so:   1.    2.    3.     Note: Do NOT use: [1] [2] [3]
  • In the text, set off titles of works (for example, books, films, and artworks) with italics.
  • Use capitalization headline style and bold for distinguishing heading sections from surrounding text.
  • For direct quotations remember to use “double inverted commas.”
  • Use ‘single inverted commas’ sparingly to stress a particular concept or word.
  • Note that the comma is placed within the ‘inverted commas,’ like in this exam­ple. “This also applies for double inverted commas,” as well as to the use of a full stop as in the “following example.”
  • Use en dashes (not em dashes) with spaces – like this – to set off phrases. En dashes are also put between digits to indicate a range (1–10 October; pp. 25–30). You can type an en dash with ALT + 0150 (in the numeric key­pad) in Windows, or OPTION + HYPHEN in Mac.


Samples of our referencing style:

Referencing Style: We use the Chicago Manual of Style 16th Edition. Please refer to Media-N samples below for quick reference, or, for more information visit the CMOS website.


  1. Jay David Bolter and Richard Grusin, Remediation (Massachusetts: MIT Press, 1999), 80.
  2. Richard Wagner, The Art-Work of the Future, trans. William Ashton Ellis (London: University of Nebraska Press, 1993), 6.

Second and subsequent citations in same paper
3. Ibid, 130.

Books with multiple authors
4. Geoffry C. Ward and Ken Burns, The War: An Intimate History, 1941-1945 (New York: Knopf, 2001), 52.

Edited Books

  1. Peter Weibel, “It is Forbidden not to Touch: Some Remarks on the (forgotten parts of the) History of Interactivity and Virtuality,” in MediaArtHistories, ed. Oliver Grau (Massachusetts: MIT Press, 2007), 21–41.
  2. 6. Colin Milburn, “Tactical Atomism,” in Art in the Age of Nanotechnology, eds. Vashti Innes-Brown, Chris Malcolm, and Pauline Williams (Perth: Curtin University Press, 2010), 6–18.

Chapter in a single author book
7. Geet Lovnik, “Radical Media Pragmatism (1998)” in Dark Fiber (Massachusetts: MIT Press, 2002), 218–225.

8. Sarah Pink “Sensory digital photography,” Visual Studies 26, no. 1 (2011): 4–13.
9. Michael O’Shea and Sol Sneltvedt, “Mindscape: An Attempt to Visualize the Workings of the Brain,” Leonardo 39, no. 5 (2006): 455–56.

Journal article (online)

10.Gueorgi Kossinets and Duncan J. Watts, “Origins of Homophily in an Evolving Social Network,” American Journal of Sociology 115 (2009): 411, accessed February 28, 2010, doi: 10.1086/599247.

Magazines and Newspapers (online)
11. Rory Cellan-Jones “Hargreaves Review: Who has won the copyrights wars?” BBC News Technology, May 17, 2011, accessed June 29, 2011,

12. Lev Manovich’s official Web Site, “Interview for Spiegel,” August, 2006, accessed June 29, 2011,,1518,429390,00.html.

Citations taken from secondary sources
13. Josiah Strong, as quoted in Michael Hunt, “American Ideology: Visions of National Greatness and Racism,” in Thomas G. Paterson and Stephen G. Rabe, eds. Imperial Surge: The United States Abroad: The 1890s – Early 1900s (Lexington, MA: D.C. Heath, 1992), 16.


Image/video/sound captions:

Please follow this format for artworks and media captions:

Fig x. Title of piece, Year, Name of the artist, Medium/media, Copyright acknowledgement.
If the work is in a public collection, the caption should read like so:
Fig x Title of piece, Year, Name of the artist, Medium/media, Size (if applicable), Collection XYZ, Copyright acknowledgement.

Fig. 1. 9 ans (9 years), 1968, Piotr Kowalski, luminescent radioactive gas and glass, ©Andrea Kowalski (Used with permission.)

Fig. 2. Chronology of Russian History, 1953-54, George Maciunas, ink and graphite on paper, 41.8 x 39.5 x 11.8 cm, The Museum of Modern Art, New York, The Gilbert and Lila Silverman Fluxus Collection Gift, © Billie J. Maciunas. Photo © Herman Seidl.

Fig. 3. For Chicago, 2007, Jenny Holzer, 10 electronic signs with amber diodes 2.36 x 295.13 x 641.875 in.; 5.9 x 749.6 x 1,630.3 cm. Installation: Jenny Holzer, Fondation Beyeler, Riehen/Basel, Switzerland, 2009 Text: Under a Rock, 1986 © 2007 Jenny Holzer, member Artists Rights Society (ARS), NY Photo: Lili Holzer-Glier. (Used with permission.)


Media submission guidelines and formats:

    1. Plan to submit at least 4 items to illustrate your essay: images, videos, sound files.
    2. In your essay, please indicate where the video and audio media should be inserted, and how it should be captioned, for example (use pink font color):
      Insert Fig. 1 – Title of piece, Year, Name of the artist, Medium/media, Copyright acknowledgement.
    3. Because we publish mirroring web and print-on-demand issues, you must submit both Web ready and print ready material. For example, you will submit the same image twice: one low resolution JPG or PNG, and one high resolution TIFF. If you are submitting moving image works for the web publication, you will need to also provide stills for the print publication.
    4. We will give you information to access our Dropbox directory to upload/download the following items:
      • media (images, video, sound).
      • 2 Word docs: 1) author’s essay -2) a list of corresponding media captions.
      • 2 PDF forms: 1) Author Agreement form – 2) Media Permission form. Click on links below to download forms:
      • A link to these forms is found here:
    5. When submitting your media, identify your file like this:


Media specs:
Please note that we will need images to be sent in two formats and sizes: small files for web publication, and large files for print publication!

Media specs:
Image specs for Web: JPG or PNG (preferred) format, maximum of 640 pixels in width or height.
Image specs for print: JPG, TIFF or PDF format, 300dpi or greater, 1400 pixels in width or height.
Video specs: 50 MB (max.) Quicktime format, max width 640px. Please submit a capture of the frame you want used along with your video file, we will also need it for the print version.
Sound specs: 50 MB (max.) .mp3 (preferred), .wav, .aiff

Media captions:
Note: Please refer to the above Image/video/sound captions. We want image “captions” and not image descriptions, like this example:
Fig x. Third Skin, 2011, Andrea Zapp, textile me­dia, ©Andrea Zapp.


Copyright forms (Author’s Agreement/Media Permission):

Authors/Contributors please complete, sign, and send back two forms together with your essay and the supporting media.
a) Author’s Agreement Form
b) Media Permission Form

A link to these forms is found here:


Authors’ Biographies:

  • Please limit your biographies to 150 words.
  • Do not use abbreviations for universities, museums or states, but rather use the full name, like in this example:
    Ken Rinaldo is an artist, theorist / author creating interactive installations that blur the boundaries between organic and inorganic matter and focused on the co-evolution between living and evolving technological cultures. His works have been commissioned and presented nationally and internationally: the Vancouver Olympics, Canada; World Ocean Museum, Russia; Itau Museum, Brazil; Biennial Electronic Arts, Australia; Transmediale, Germany; Arco, Spain; Kiasma Museum, Finland, and Museum of Contemporary Art, in Chicago. Rinaldo was the recipient of first prize for Avida 3.0, Spain and an Award of Distinction from Ars Electronica, Austria. He has been featured on TV internationally and reviewed broadly in Art and Electronic Media, Edward Shanken; Art + Science, Steve Wilson; Digital Art, Christiane Paul; New York Timesand Wired Magazine. Rinaldo directs the Art & Technology program at The Ohio State University, in Columbus, Ohio.


If you have questions, please email the Editor-in-Chief: Pat Badani (