Studio Note Journal envisions research as a way of doing and becoming. We envisage each submission as a space that both documents encounter and reimagines boundaries—between theory and practice, self and community, the given and the yet-to-be-imagined. Our peer-review process is collaborative and dialogical, grounded in mentorship and openness. We understand exposition not as the display of knowledge but as a site of encounter and resonance, where vulnerability, miscommunication, and incompleteness hold generative potential.

Following Rolf Hughes’ notion of exposition (2015) as the act of creating a field of encounter, this inaugural issue reframes exposition as a space of echoing—a resonance between the seen and unseen, the said and unsaid. To encounter is to come up against what resists assimilation—an idea, a material, a history, a theory, or another being. To echo is to let that encounter reverberate and transform. Between encountering and echoing lies an ethics of care, speculation, and reciprocity—a willingness to stay with what is incomplete, uncertain, or even misread.

In line with the Arts of the contact zone (Pratt 1991), encounters are never neutral; they unfold in zones of tension, translation, and transformation. Similarly, Studio Note treats encounter and echo as creative and critical forces that shape our practices, pedagogies, and therefore our identities. We invite contributions that explore encountering and echoing as speculative and performative acts of research.

We ask:

• How do encounters—between disciplines, materials, histories, theories, or bodies— generate speculative forms of knowing?
• How can exposition become a performative and ethical act, staging the unfinished and the misunderstood as productive?
• What happens when research and pedagogy are treated as fields of meeting, echoing, and care rather than control or mastery?
• How can misreading, miscommunication, and incompleteness become sites of creative potential rather than failure?



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