Having completed twelve years of on-line publication, Contemporary Aesthetics has achieved the stability of an established journal. Our website has gradually incorporated features such as a universal search function that works easily and well. Each year our homepage features a different image that reflects our diverse scope. Volume 13 displays Mia Brownell's "Still Life with Pear, Apricot, and Grape II," recognizing the growing interest of everyday aesthetics and, in particular, issues related to the aesthetics of food.
While our website no longer requires significant updating, there is a new publication development that I am delighted to announce. This is the forthcoming appearance in print form of a collection of work that has appeared in Contemporary Aesthetics over the past twelve years, thus reversing the order that CA innovated! It comes as another indication of the support that The Rhode Island School of Design has given us. Not only are we partially supported by RISD but the idea and underwriting of a print volume was initiated by the Provost and Dean of that institution. The volume will be innovative in design, as may be expected, and will include a QR code to allow readers with hand-held electronic devices to call up from the book the original article from the Journal's website, thus reciprocating the conversion of media!
The option of subscribing to CA continues to grow, attracting readers who like being reminded (not too frequently !) of recent work that has been published in CA and of forthcoming articles. We have been gratified, too, by the generous response of readers to our annual appeal for the financial contributions that are necessary for CA to continue the high standards of editorial quality for which we take great pains and are proud. Each year our readership continues to grow. Statistical figures show that visits to CA in 2014 totaled about 170,000 (a visit is calculated at a minute and a half) and include visits through Michigan Publishing, which not only archives CA but provides an independent portal for accessing the journal. Readers were predominately from the United States, the United Kingdom, Canada, Australia, and India. Interestingly, the total from these countries remained about what it was in 2013, but our visits increased about 40%. This means that readers come from many other, non-English speaking countries. Our authors reflect this diversity, too, with work in Vol. 12 coming from scholars in Finland, Spain, Germany, Italy, France. Contemporary Aesthetics is truly an international journal of aesthetics.
We were also pleased to learn the results of a comparative study by Prof. Sherri Irvin of the University of Oklahoma on gender balance in the authorship of articles in two leading print journals of aesthetics and in Contemporary Aesthetics since 2010. She discovered that CA has published a much higher proportion of articles authored by women compared to the two print journals and has significantly more women among its referees and editorial consultants where comparative data are available. Moreover, CA is the only journal whose authorship reflects the proportion of women who belong to the relevant professional organizations. I should note that this equality of representation is not the result of a specific policy but may be related to our editorial policy of openness and inclusiveness. The study may be found at http://www.aestheticsforbirds.com/2014/10/diversity-inclusiveness-in-aesthetics.html.
As with most scholarly journals, articles submitted to CA are peer- and blind-reviewed. We continue to be grateful to the scholars who have supported Contemporary Aesthetics by serving as referees. I want to extend my thanks to Philip Alperson, Riva Berleant, John Carvalho, Madalina Diaconu, Ivan Gaskell, Stan Godlovitch, David Goldblatt, Andrew Kania, Tom Leddy, Kevin Melchionne, Monique Roelofs, Tiger Roholt, Sheri Ross, Yuriko Saito, Crispin Sartwell, Larry Shiner, and Mary Wiseman for their assistance with Vol.12.
Arnold Berleant, Editor