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V.1 AUTUMN 2007


V.2 AUTUMN 2007






Please note that we are only able to consider submissions relevant to the list of future publication subjects listed on the left of this page.


Antennae is a peer reviewed journal and therefore all academic essays will be subject to consideration from Antennae's board.

Original manuscripts will be considered for publication. Information that has been published or is being considered for publication elsewhere will not be accepted unless discussed with the Editor. Manuscripts that appear to meet the objectives of the Journal will be reviewed by the Editor and by the Academic Board before a decision is made on publication.


Style Manuscripts should conform to acceptable language usage. Abbreviations must be limited primarily to those in general usage. The Editor encourages the use of more than one pathway of presentation of materials which might allow the reader greater flexibility in viewing.


By submitting your article for publication, you grant Antennae the right to reproduce the work and associated images in electronic format or on paper format derived from the on-line work. If the work has been solicited or commissioned by Antennae, the intellectual property of such contribution rests with Antennae. If such category of work is published in Antennae, and this also represent the first published instance for the work, a written request for a re-print needs to be forwarded to the Editor in order to obtain authorisation for partial or full reproduction of the work. Interview questions written for Antennae and relative answers supplied by interlocutors become, upon publication, intellectual property of Antennae and a written request for a re-print needs to be forwarded to the Editor in order to obtain authorisation for partial or full reproduction in other publications.


Original articles can only be submitted in English. Send your manuscript in digital format in Microsoft Word documents only.


Use of images is encouraged. Authors are responsible for costs and administrative duties involved in clearing copyright for images. Texts related to the work of an artist or other visual material will not be published without the relevant visual material. The standard size for images is 300 dpi.





                           We are accepting submissions for upcoming issues focusing on the following topics:

Microbial Ecologies



They are mighty microscopic ancestral entities. Enteric traders in food absorbing all that passes while tuning our immune systems. They are feeding us with their waste while protecting our bodies. They produce oxygen, so we may breathe, run, and sing. On our tongues, they taste. In our bodies, they shield, and in our cells, they energize so that we may see. They unify all living things, from humans, fish, and plants, to fungi.


In the 1670s, a Dutch cloth seller Antonie van Leeuwenhoek was inspired by Robert Hooke’s book Micrographia. He wanted to see his fabric magnified to look at the quality of the weave. Working with glass and flame, he developed custom lenses that allowed an unmatched magnification of 200 times. After viewing pond water and finding microbes, he scraped yellow plaque from his teeth to experiment further. Peering through his single-lens microscope, he realized we are not alone. Animalcules (small animals) is the English translation to dierkens as Antonie called them, swam through his saliva.


These discoveries set off epistemological changes that reverberated through the sciences, religion, and history. With advances in electron microscopy and imaging, a vibrant environment now exists for artists and scientists to try and understand who and what we are. Our primary energy sources in our cells are a foreign organelle, mitochondria, challenges the notion of “the individual.” As the significant driver of evolutionary change, evolutionary theorist Lynn Margulis was the primary proponent of symbiosis. We are moist ponds or trillions of human, bacterial, and fungal cells working in synchrony. Here not one, but many species influences another in a dynamic intermixing. In this world view, no organism lives in isolated purity.


The COVID 19 virus, has proven how the smallest microbe, a virus, can reprogram our DNA and bring a worldwide economy to its knees. CRISPR CAS 9, a technique learned from how bacteria disarm viruses, holds real promise for curing diseases in living beings, and is becoming an artistic method.


Artists are now transforming how we have come to understand our relationship with the microbial and natural world. They now commonly use DNA as tools, and the techniques known to bio scientists have become their primary means of expression. These artworks may include the manipulation of DNA, the use of bacteria, human and animal tissues, plants, fungi, and

other living matter. Observation and corralling what life does naturally can become part of the aesthetic.


This issue of Antennae is edited in collaboration with Professor Ken Rinaldo, a pioneer in living systems art, and will consider a wealth of perspectives including but not limited to:


Microbial art

Bacterial art

Slime Mold Art

Algae Art

Fungal art

Viral art

Tissue Culture

Cellular manipulation artworks

Biotechnological art

Living matter artworks

Molecular structures artworks

Proteomic art

Transgenic art

GFP, PFP and other fluorescent protein based art

Critical or speculative design with microbes

CRISPR CAS 9 artworks





Academic essays = length 5000 words max

Artists’ portfolio = 10 images along with 1000 wordsmax

Statement/commentary Interviews = maximum length 6000 words

Fiction = maximum length 7000 words Roundtable discussions = 5000 words





April 15, 2021 —  Abstracts Due

Please submit 350 words abstract along with a CV and no more than two images


May 15, 2021 — Selection process finalized; feedback sent


November 1, 2021 — Submissions of final pieces


Please email any questions to Giovanni Aloi: Editor in Chief of Antennae: The Journal of Nature in Visual Culture, [email protected] (www.antennae.org.uk) or co-editor Ken Rinaldo at [email protected]