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Journal for Artistic Research (JAR)

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Internasjonal tittel:

Journal for Artistic Research (JAR)


2235-0225         Periode: [2010 .. ]







Society for Artistic Research



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Tverrfaglig humanistisk forskning


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The Journal for Artistic Research (JAR) is the leading journal in the growing field of interdisciplinary, creative research open to connecting knowledge from virtually any scientific field. As the UK REF 2014 sub-panel ‘Art and Design, History, Practice and Theory’ reported, “a marked feature of the practice-based [artistic] research was its embracing of interdisciplinary approaches to research production’ making ‘the [art and design] sector a leader in interdisciplinary research.’ [1] The Open Access Journal for Artistic Research (JAR) is the first peer-reviewed periodical to identify itself with the developing field of artistic research, which as Nina Malterud says, JAR has ‘strengthened.’ [2] Since its inception in 2010, JAR has acted as a trail-blazer for more recent developments in Higher Education in particular around the interrelationship of practice and theory.

JAR coined the term ‘exposition’ in order to describe how articles have to engage with research in order to evidence knowledge claims specific to practice. Over the last years, this approach and the notion of ‘exposition’ pioneered by JAR has entered academia at large, such as, when in 2015 Uniarts Stockholm successfully applied for accreditation to award third-cycle degrees when it said that “exposition constitutes a key concept in artistic research … provid[ing] a key to understanding its aesthetic, epistemological, ethical, political and social content” acknowledging on page 22 the role JAR has played. [3] In the same way, the current Erasmus+ Strategic Partnership Project ‘Advancing Supervision for Artistic Research Doctorates’ makes use of the notion of ‘exposition’ highlighting that it “is crucial to communicate results by means of artistic practices and formats.” [4] Likewise, JAR’s emphasis on expositions of practice as research in its peer review process has served as “best practice model for the peer review process” [5] of the Australian journal Sightlines: Filmmaking in the Academy (ISBN: 978-0-9943365-4-5 and ISBN: 978-0-9943365-1-4), whose peer review form [6] is virtually identical to the central parts of JAR’s form [7], since it was deemed “the most suitable for the long-term development of our research discipline.” [8] JAR’s approach has also informed the methods employed in artistic research projects [9] and recently – again with reference to JAR – been developed as a tool for analysis. [10]

In order to realise JAR and to deliver such expositions of artistic research, the international, non-profit Society for Artistic Research (SAR) - as part of a larger consortium of stakeholders - gained funding from the Dutch government to create the Research Catalogue (RC), a rich-media, web design and publishing framework developed specifically for JAR. With Martin Tröndle’s exposition ‘The Entanglement of Art and Sciences’ [11] winning the prize for the best enhanced publication of the month (SURF Foundation, NL, Nov 2011), JAR and the RC quickly gained recognition. As Lucy Amez et al. says with reference to JAR and the RC, “Artistic RIPs [Rich Internet Publications] can therefore be considered a new format … The exposition is more than an enhanced text.” [12] Convinced by the potential of this new format developed by JAR, with Ruukku. Studies in Artistic Research (ISSN: 2341-9687), VIS. Nordic Journal for Artistic Research (ISSN 2003-024X) and the Journal of Sonic Studies (ISSN: 2212–6252) other journals in the field now also use the RC. Still, JAR expositions won both the 2017 and 2018 SAR prize for the best RC expositions [13], an indicator of the quality of the journal. Promoted by the flagship of JAR, the RC keeps attracting a large user base (more than 12000 researchers are currently registered) and institutional investment [14] including the choice by the Norwegian Programme to use the platform for its funding application and documentation processes.

JAR’s major impact is also due to its robust editorial policies that strongly rely on peer review. Over the last 16 issues around 700 peers from across the globe single blind reviewed submissions to JAR with on average 4.3 reviewers per submission. Including desk rejections by the managing editor and the editorial board JAR’s success rate is below 20%. JAR’s editorial board currently comprises 12 international members some of whom were part of the initial team offering a large degree of stability and continuity. A recent push to increase JAR’s global reach in response to the needs voiced by researchers in the field saw editors from Africa and South America join the journal. When compared to other journals of artistic research, JAR’s open submission and theme-free approach, its peer-review policy as well as its global reach make it the most inclusive and critical journal in the field.

It is fair to say that the inter- and transdisciplinary qualities that make artistic research so valuable also make it notoriously difficult to quantify and compare scattered as it is across the various fields of the Norwegian Publication Indicator. [15] This complicates any assessment of the role and impact a journal such as JAR has had, but does not detract from its unique importance and prominence. Where other important journals in the field, such as the now defunct Art & Research: A Journal of Ideas, Contexts and Methods (ISSN: 1752-6388) or the PARSE [Platform for Artistic Research Sweden] Journal (ISSN: 2002-0953) have published articles ‘about’ artistic research, JAR publishes the research itself, evidencing artistic research methodologies and strengthening exchange in the field. Similarly, where more discipline-focused journals, such as Drawing: Research, Theory, Practice (ISSN: 2057-0384) or the Journal of Embodied Research (ISSN: 2513-8421), accept submissions of artistic research without specifically identifying them as such, JAR is the pioneering journal engaged in establishing artistic research as a field in its own right.

[5] Glisovic, Smiljana, Leo Berkeley, and Craig Batty. 2016. ‘The Problem of Peer Review in Screen Production: Exploring Issues and Proposing Solutions’, Studies in Australasian Cinema, 10.1: 5–19 p. 16
[8] Glisovic, Smiljana, Leo Berkeley, and Craig Batty. 2016. ‘The Problem of Peer Review in Screen Production: Exploring Issues and Proposing Solutions’, Studies in Australasian Cinema, 10.1: 5–19 p. 16.
[9] Working Methods
of the Sound & Motion Improvisation Research Group, Helsinki
[11] Martin Tröndle, ‘The Entanglement of Arts and Sciences. On the Transaction Costs of Transdisciplinary Research Settings‘, Journal for Artistic Research, 1 (2019)
[12] Amez, Lucy, Binke Van Kerckhoven, and Walter Ysebaert. 2014. ‘Artistic Expositions within Academia: Challenges, Functionalities, Implications and Threats’, p. 125, in The Exposition of Artistic Research: Publishing Art in Academia, ed. by Michael Schwab and Henk Borgdorff (Leiden: Leiden University Press), pp. 118–35
[15] While JAR is registered in the ‘Interdisciplinary Humanities,’ comparable journals are registered in different fields; for instance, the Finnish Ruukku. Studies in Artistic Research (ISSN: 2341-9687) is registered in ‘Theatre and Drama,’ the more recent VIS. Nordic Journal for Artistic Research (ISSN: 2003-024X) sits in ‘Art History’ MaHKUscript. Journal of Fine Art Research (ISSN: 2397-0863) in ‘Ethnology’ while equally recent journals, such as, the OAR: The Oxford Artistic and Practice Based Research Platform (ISSN: 2399-5092), Voices in Contemporary Art (VoCA) Journal (ISSN: 2574-0288) or Portable Grey (ISSN: 2637-8361) are not listed at all.

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