Aftertouch Magazine is a literary and art publication that centers ekphrasis. Our view of ekphrasis is expansive, incorporating art in all of its forms. We strive to push beyond pieces that only focus on visual art, platforming work that ruminates on music, film, media, the performing arts, literature, and other subjects. We rely on early definitions of ekphrasis, stripping it down to its roots. In Aphthonius’ Progymnasmata, ekphrasis is first defined as “a composition bringing the subject clearly before the eyes.”  As such, our view of art is broad – anything created by humans with intent and meaning. 

Ekphrasis inherently places works in conversation with one another. Poetry and prose engage with different forms, bringing a new perspective to the reader. Our name highlights this exchange. “Aftertouch” is a feature on electronic keyboards that allows the artist to modulate the sound by applying more pressure to the keys. Ekphrasis operates similarly. The (new) artist applies pressure, building their own interpretation. Through manipulation, the piece changes while retaining the same undertones. 

Structurally, this sense of exchange is woven throughout the work we publish. Each text-based piece published will be accompanied by a piece of visual and audible art selected by our editors (from pieces submitted by artists and musicians). We view this as akin to the process of museum curation, cultivating miniature exhibits within each published piece. 

We believe art is something to be shared. All featured creators will be appropriately credited, with bios for all three artists appearing at the bottom of each post. All pieces will also be featured on our social media via sharable posts. Our editorial team will also interview contributors who are interested, with typed interviews appearing on our website roughly two weeks after the original piece is published. This timeline enables us to further promote your work for an extended period of time.

VALUES

Historically, ekphrasis has been used as a means of archiving. Homer’s The Iliad preserved the architecture of Greek temples, while Shelley’s “On the Medusa of Leonardo Da Vinci in the Florentine Gallery” records the lost titular piece. In line with this precedent, Aftertouch is invested in the ways that ekphrasis can be used to conserve art and the artists that produced them. We encourage submissions from historically marginalized creators and/or art produced by historically marginalized artists.  

All art is inherently political. As such, our remembering, analysis, and creation of it is political as well. As a magazine, Aftertouch is opposed to work that praises imperialism and colonialism. Work that champions Zionism and genocide will not be considered for publication. We believe in a free Palestine, Lebanon, Ukraine, Sudan, Congo, Venezuela, Cuba, and support liberation movements worldwide. 

Generative AI has a substantial negative impact on the environment and those living within it. As such, we will not platform written, visual, or audio pieces that utilize AI as a substitute for artistic creation; however, we acknowledge that critical analyses of the influence of AI on art and culture cannot be truly effective without engaging with it in some way. To allow our editorial staff to make informed publishing decisions, all pieces that utilize AI must include a reference and brief explanation in the cover letter. Pieces that do not self-report will not be considered for publication, and pieces proven to be AI influenced post-publication will be pulled. All content available on Aftertouch Magazine was created by humans, unless clearly stated otherwise.