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    The Interstitial Arts Foundation is a not-for-profit organization dedicated to the study, support, and promotion of interstitial art: literature, music, visual and performance art found in between categories and genres – art that crosses borders. Find out more!

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    Thanks to 277 generous backers for our Interfictions Indiegogo Campaign, we raised $10,318 by the time our campaign ended at midnight, July 14th, 2014.  When we launched on June 3rd, we were staggered to find donations doubling almost daily, until after about 3 weeks we had reached our original target goal of $8,500, and were able to move on to our Stretch Goal of $10,000.

    Which means we not only get to publish Interfictions Online for another year, but we can pay our contributors at higher rates now, rates more in line with the effort and talent that innovation requires. Thank you, each and every one of the 277 generous donors who stepped forward to say that interstitial art is valued and valuable. The number of people is as important as the number of dollars raised. We are awed by your generosity.
    Now [...]

    INTERFICTIONS issue #3 is up online!

    The editors of Interfictions Online are happy to announce the birth of the journal’s latest issue, on May 22, 2014!

    The Spring 2014 issue’s non-fiction offerings include Mark Craddock’s poignant collage in Aerial Acrobatics and Gender Reassignment Surgery – A How-To Guide, while Inda Lauryn’s Parallels and Transitions splices analysis of contemporary female vocalists into a graduate school memoir. Isabel Yap’s Life Is Not a Shoujo Manga speaks for itself. And in an interview with Jeff VanderMeer and Jeremy Zerfoss, the two creators discuss their illustrated guide to writing, Wonderbook.

    The fiction offerings remix tropes from ghosts to automata, with new work by Richard Butner, Su-Yee Lin, Kat Howard, Tade Thompson and S. Craig Renfroe Jr.

    Several of the poems in this issue reimagine older narratives: Sridala Swami’s AI Winter draws on the Mahabharata, Sonya Taaffe’s Double Business on Hamlet, and Mary Alexandra Agner’s Hypothesis Between Your Ribs on the brief life of Charles Darwin’s daughter.


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    These pages present recommended academic courses that emphasize either the study of Interstitial Arts or incorporate the core philosophies of interstitiality into their foundations, as well as scholarly resources for further research.

    "The word 'interstice' comes from the Latin roots inter (between) and sistere (to stand). Literally, it means to 'stand between' or 'stand in the middle.' It generally refers to a space between things: a chink in a fence, a gap in the clouds, a DMZ between nations at war, the potentially infinite space between two musical notes, a form of writing that defies genre classification." - Heinz Insu Fenkl

    Alan DeNiro
    "These writing exercises can be used, and modified, in any fiction writing workshop, but might have particular value in workshop settings which have an emphasis on nonrealistic storytelling forms."
    Theodora Goss, Boston University
    "Fantasy and the Fantastic" was a composition course taught through the Writing Program at Boston University. The class began by focusing on fantasy, and specifically the fairy tale... Throughout these discussions, I emphasized that the boundary crossings found in fantasy and the fantastic teach us something important about our own reality. Drawing boundaries seems to be an essential human activity, since bounded categories allow us to understand the world. However, boundaries are often drawn to exclude what we fear, and they can have important consequences for our perception of the world around us, particularly when we are confronted with other cultures..."
    John Langan, SUNY New Paltz
    "This class focused on introducing students to contemporary works that engaged fictional genres in interesting and provocative ways. In most cases, this meant that we read texts taken from within the various genres... I tried to include a mystery, a fantasy, a gothic, and a horror novel, and part of the focus of the class was in examining the (often shared) histories of these forms, how different narrative forms treat the same questions, and the ways these genres talk to one another. I was also interested in the ways that the genre writers were working with – and often against – the conventions of their forms."
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