CALL FOR SUBMISSION CALLS
CALL FOR SUBMISSION CALLS
Dear publishersI am currently accepting your submission calls. Please feel free to contact me and submit your calls to my kind submission manager (see below).
I am happy to provide you with poetry, fiction, reviews, interviews, articles, visual art, short fiction, interviews, memoirs and biographical pieces.
I am interested in a wide range of topics and areas but mostly:
=>Promotional poetry
=>Uppercut-up
=>Flash Gordon Fiction
=>Homovisual translations
=>Asemic kung-fu
=>Experimental dreaming
=>Business logorrhea
=>CaptcHaïku
=>Fake acrosticism
=>Monolingual Polyglossia
=>Ballardian porn
=>Indecent Mashup
=>Oulipian dancing
=>Conceptual lyricism
=>Comics Appropriation
=>Finnegans Awakening
...But also literature overall
Specific publication guidelines
- Most of the work I deliver ranges from 250 to 2000 words.
- Depending on my availability, I can provide previously-unreleased work (which is more expensive). Expect previously-published pieces as well.
- I will inform you in case of simultaneous submissions (but not always).
- Together with each of my pieces, you will include my biography as well as my links (blog, website, Facebook, Twitter, etc) and a picture of me.
- As part of our agreement, you will be requested to promote my work on your social media accounts. Prior to promotion, I will review the copy that you intend on posting on social networks.
Payment guidelines
- My work will be compensated by monetary payment. This compensation will be evaluated based on a number of objective parameters.
- I will establish a tailored but reasonable budget for each of my submissions.
- Upon receipt of my submission, my piece is available for publication within five (5) open-days. Failing to include my work within due time, I will withdraw my submission.
- Publisher should proceed to payment upon receiving my submission.
Rights
All rights to published work stay with me. I also reserve the right to ask you to withdraw my work from your magazine, website, blog, etc.
One last recommendation
Before sending your submission call, please make sure that you have read my work and bought some of my books. Thus you will familiarise yourself with the type of work I usually produce and will get a much deeper understanding and appreciation of my writing.
Submission Manager
ACCESS HERE
The Crashtest series (experimental journal and ebooks)
The Crashtest series
(Experimental projects - journal and ebooks)
CrashTest has generated a print journal and a series of digital ebooks
focusing on experimental and alternative writings.
Most issues are available for free on ISSUU or via PDF (on request).
Print versions can also be sent. Some issues are collective and others are not.
Current issues:
14. TIME IS ON MY SIDE (inventory)
13. PHANTOM OF A GESTURE (erasure)
12. BARTLEBITS (lost and found writing)
11. WHAT'S NOT by Tulio Herrera and Bustos Domecq (erasure)
10. VENUS IN FURSONATE (mashup)
09. A CLOCKWORK BABEL by Jorge Luis Burgess (mashup)
08. YOU DIDN'T LET ME FINISH MY SENTENCE (appropriation)
07. CAPTCHAÏKUS (automated poetry)
06. POESTRYP (Comics meet Poetry)
05. ATROXHITY (JG Ballard tribute)
05. ICONOCRASHTIC (appropriation)
04. Neo-Crashtestament (spam poetry and drama)
03. Ubertrashung (installation)
02. NoLOG (guerilla writing)
01. TLAONGUE (Polyglossia)
Full and updated details can be consulted on this PAGE.
Time is on my side - Inventory (Crashtest series)
I have ordered all my favourite songs by duration.
This project has to do with self-quantification, memory and classification. At some point it is important to remember the time it takes to experience or enjoy certain things (favourite ones in this case). This piece can be considered as a monomaniac version of Brainard's I remember in which the time factor has become essential. Songs (and movies as well to a certain extent) are the only things you can actually measure in terms of duration even though you may experience some emotions afterwards, by remembering how good IT made you feel for two and a half minutes or three minutes thirty four or six minutes forty five. Constraints: 1/ cover as many time slots as possible; 2/ only one song per time duration; 3/ pick just one song per album (whenever possible); 4/ start at 2:21 with a song called "Inventory"
Experimental Writing Seminar - Charles Bernstein
Experimental Writing Seminar: Constraints & Collaborations
by Charles Bernstein- 1. Introduction / Substitution
- 2. Exercises in Style
- 3. Homophonic & Dialect Translation
- 4. Without Rules, (K)not!, or Is Free Writing Free?
- 5. Ekphrasis (translating the visual into the verbal)
- 6/7. Visits
- 8. The Art of Constraint
- 9. Memory, Novel Forms
- 10. Short lines/Short Poems
- 12. Flarf / Conceptual Poetry / Web-Generated Poems / Found Poems / Appropriation
- 13. Digital & Visual Poetry
- 14. Last class: Performance / Class Anthology / Chapbooks / Web site
=> INTRODUCTION: here
=> SYLLABUS: here
=>SAMPLE WORKS (class website): here
....mostly based on the WRITING EXPERIMENTS list: here.
PowetPOINT - Make your point in your poetry presentations
Make your point in your poetry presentations
01. In PowetPoint, text is the soul
02. PowetPoint is contemporary
03. PowetPoint will colour your ideas
04. PowetPoint lets you add shadows
05. PowetPoint looks at the entire shape metaphor
06. PowetPoint has an audience
07. PowetPoint allows interactivity
08. PowetPoint can be used for so much more
09. You may have an older version of PowetPoint, time to change
10. PowetPoint works best with a local printer
11. PowetPoint will allow fancy backgrounds
12. In PowetPoint, autofit options are activated
13. PowetPoint isn't too good at remembering locations
14. PPS is the PowetPoint show format
15. PowetPoint includes the capability of creating masters
16. You may want to avoid painful patterns on PowetPoint
17. You needn't manually apply a master in PowetPoint
18. PowetPoint ships with many ready-made templates
19. When starting PowetPoint, you can create a blank presentation
20. PowetPoint automatically applies a default fill
21. Many PowetPoint tasks can be performed
22. PowetPoint provides ungrouping abilities
23. In PowetPoint, everyting is on a toolbar
24. Use PowetPoint compression feature
25. Every element in PowetPoint has a fill
26. Many PowetPoint users simply aren't aware
27. Edit outside PowetPoint
28. By default, PowetPoint defaults
29. PowetPoint has a hidden tool
30. PowetPoint is just a tool
31. PowetPoint often requires much less text than other software
32. PowerPoet ignores anything else
33. Try experimenting with PowetPoint, it’s easy
34. Inside PowetPoint, the world is your oyster
35. PowetPoint is easy, especially when you follow the steps
36. How does PowetPoint decide?
37. Keep your PowetPoint size under control
38. PowetPoint has an impressive repertoire
39. Use PowetPoint amazing narration features
40. Get PowetPoint to sing and dance
41. Most PowetPoint narration problems stem from outside
42. PowetPoint can't embed anything
43. Every element on PowetPoint can be animated
44. PowetPoint includes a few speed presets
45. PowetPoint provides umpteen text animation possibilities
46. Don't use every PowetPoint option and bury the actual message
47. PowetPoint can't save the animation
48. You should learn the secrets of transitioning with PowetPoint
49. In PowetPoint, linking is like networking
50. Remember, PowetPoint rules are made to be broken
[From the official PowetPoint manual]
Bartlebits (new and expanded)
Bartlebits is about erased sections in books. Most of these are not just corrections but actual deletions, wanted or unwanted. Throughout the various chapters, you will recognise some famous figures or familiar writings. These words, however, have been for some reason taken out and omitted from the original works. At the end of Bartlebits, sources and links can be found. Why call this Bartlebits? Maybe because we are dealing here with dead letters. Maybe... Note that this is a work in progress, in other words a black hole in expansion.
*********************************
And indeed expanding . New sources have been added.
Reading has been made easier as well.
*********************************
Stéphane Mallarmé - Phantom of a gesture (erasure)
********
Erasing Mallarmé's Throw of the dice.
Only leaving Phantoms of a gesture: corrections.
********
Voight-Kampff - How I did not write certain of my books
Writers of the future will be information managers.
Kenneth Goldsmith
Operator / Voight-Kampff
Known as Voight-Kampff, the operator would connect to the platform and challenge the data he had been working with for several months. The process and the tools below describe how he produced a so called work of fiction.
Yoko Ono - Drinking Piece (Grapefruit)
Pour the grapefruit juice, strawberries, bananas,
yogurt, honey and ice into a blender.
Cover.
Blend until smooth.
Drink the piece.
Experimental Art and Writing 2014
Experimental, fake, plagiarized, hacked, invisible, failed, erased, conceptual and obscure ART - 2014
[A]
>>ABSTRACT > 3D abstract comic strip? Visual Poetry? Miniature combine painting? > Jason Overby > GO
>>ARST > Arst Arsw > Star Wars sorted alphabetically > Video > GO
>>AUTONAUTS > Making of Autonauts of the Cosmoroute by Carol Dunlop and Julio Cortázar > @Maison Neuve > GO
Abraham Zapruder - DIY Flipbook (recommended version)
To see the real story move, cut the following images and paste them on a pad. Flip the pages (forward or backward) as if you were thumbing through a book.
Tulio Herrera and Bustos Domecq - WHAT'S NOT
***
"What's missing hurts not" once said Bustos Domecq.
So here is another erasure work or another way of shortening Vladimir Nabokov.
Carving out all foreign bodies contained in Nabokov's shorts stories and turning these into a polyglossic poem.
***
Venus in FURSONATE
Venus in FURSONATE
Kurt Schwitters meets The Velvet underground
New smashing mash-up
From the eCrashTest series
* * *
Jorge Luis Burgess - A Clockwork BABEL
BURGESS / BORGES MASHUP
BABEL recontructed based on the Nadsat language invented by Anthony Burgess. Crashtest series that can be read on Issuu
************************************************
Other recent ebooks in the Crashtest series:
**You did'nt let finish my sentence: here
**Bartlebits (ersure / erosion): here
Erased Oscar Wilde (Dorian Gray's Chapter 9)
Based on a suggestion provided by The Found Poetry Review
More erasure poems from Dorian Gray on Ultrazswound.
The new BEATRS by Dr D (aka DanteA)
Designed for music lovers in particular and all lovers in general who don't sacrifice sound for style, BEATRS wil deliver pure feeling in an ultra-lightweight and durable package. She will make your listening experience intimate and personal as close to reality as can be. BEATRS is able to generate the purest emotions. The new BEATRS is lighter, sexier, and more comfortable, with precision sound. BEATRS delivers all the energy and excitement you expect, plus a powerful, reengineered sound poetry. It’s rare to find big poetry in something so small.
Listen to Dr D's Playlist: HERE
- Bang Goes The Knighthood by The Divine Comedy
- New Life (Remastered) by Depeche Mode
- Highway to Hell by AC/DC
- Love Song by Vanessa Paradis
- Paradis perdus by Christine and the Queens
- Bliss by Muse
- Banquet by Bloc Party
- Salvation Mind by Cyesm
- Purgatory (Live And Let Die) by Takida
- Pope by Prince
- Moonlight Shadow by Mike Oldfield
- Modern Man by Arcade Fire
- Speak My Language by The Cure
- The Arrival And The Reunion (Remastered) by Dead Can Dance
- Limbo by Fiesta Reggaeton Dj
- Excuse My Vernacular by Grizzzy the Grizzzly
- Give Mo Luv (feat. eLBee BaD) (Boston Bun Remix) by Logo
- Exile by Hurts
- Pagan Lovesong by Virgin Prunes
- Requiem For A Dream - Lux Aeterna by The London Ensemble
You didn't let me finish my sentence (new Crashtest project)
Jack Torrance (the character in Kubrick's movie the Shining) was obsessed with a sentence that he thought was unfinished and that he kept retyping on his typewriter. Following his own tragic experience, hundreds and thousands of anonymous authors borrowed this exact sentence and, one day, decided to repeat this sentence, endlessly.
This book, entitled You didn't let me finish my sentence, is about the sentence, or more precisely the reproduction of this sentence over and over again. The peculiarity of this sentence is that it is structurally finite but conceptually infinite and open to all possible variations, styles, media and interpretations.
This book is about the sentence as part of an endless stream in which the exact same words take different forms and shapes prolonging the nightmare born in Jack Torrance's mind. The sentence does not lend itself (or very rarely) to adaptations: no remix, no alterations, no changes in the words themselves. The sentence remains intact and invariably static. Of course the words may resonate differently from one author to the next but, ultimately, what is it that binds them all and mysteriously links them? Maybe there is a spell contained in this "lullaby". Maybe, re-writing the sentence is somehow uncontrolled, an urge which is virally transmitted everytime someone reads this line. The more you read it, the more it possesses you, crawls your mind and spreads around.
So be careful, "all work and no play" can make a dull life into a writing obsession and turn you into an obsessive, compulsive reproducer of this neverending sentence. If you feel your eyes and mind are ready to give it a try, the book which contains the sentence is HERE.
Reviews - Marco Giovenale
Marco Giovenale: Anachromisms (Ahsahta Press)
This is the best thing since Google invented auto-complete but an auto-complete which would be driven by a highly deranged algorithm. This new algorithm is powered by Marco Giovenale's integrative inspiration which moves around like a desperate "Super Mario" capturing, here and there, coins and badges (read phrases and images). The items may seem loose or disconnected, as Super Marco is a massively heterogeneous collector. Nevertheless, if you are no plumber yourself and love all sorts of leaks happening, you will surely enjoy taking "laser showers" or peeing into "a flash memorial urinal with led display". Moving through these flashy surroundings, Super Marco does not provide any instructions and does not give a faq. He won't help you in this storyless ride on his bumpy, roller-coaster poetry. "A full bath will empty in 45 minutes" is no problem for Super plumber who deep dives into colourless territories with his "scuba suit" and some "archaic html tags" leading the reader through a sparkling and epileptogenic journey. So be prepared to meet a wild bunch of masked or faceless characters but also giant bunnies, vampires, zombies and robots. At this stage, I will not comment on the neo-chomskyan or post-adornian nature of this book as personnally, I am a great fan of ctulhu pets and bmw gorillas.
Marco Giovenale: A Gunless Tea (Dusie)
What the author is doing in this book is unveiling the big secret of crypticism. What I have mistakenly called a book is a mixture of ready-written materials and found writing. You may argue that those bits are stitched so carefully that even a close reading can hardly tell which is which. Nevermind. This "non-book" is more than disconcerting, clashing unexpected words together, nicely googlinking antagonistic sentences. Marco Giovenale is somehow extracting bizarre bits and pieces from the darkest crypts of a) our minds, b) our lives, c) our nightmares (tick as appropriate) and creating a sort of monster. Marco Giovenale is a kind (of) Prof. Frankenstein, who - as a former bookshop keeper- knows the best places where to dig out the most sombre and awkward pieces of fiction and non-fiction. I suppose this is the answer to a question I did not raise: How can you "bury the dead (if) they'll live again"? . This non-book is unburied, out there walking amongst the living and probably the non-living readers as well, delivering its cryptic and gunless message. A blurred message made of constant adjustment, altering its meaning as the reader progresses through this chaotic and heterogeneous text: a mixture of alien tongues, ape signs, voodoo gestures, telepathic thoughts, historical criticism and other undecipherable stuff... which actually read in a smooth and unchaotic manner only slightly perturbed by an unexpected punctuation. Clearly, the monster may frighten off quite a few readers but those who will approach it may enjoy its discrete humour and its powerful visions.
SO get the medifiction that you need instantly direct to your home.
All countries shipping. Best MEDIFICTION ever
Abilifyght Club by Chuck Palahniuk
[Potential effects: sociopathy, violent behaviour towards Ikea furniture, soapophobia, multiple personality disorder]
Cialis in Wonderland by Lewis Carroll
[Potential effects: uncontrolled organ growth, anthropomorphic tendencies]
A mid-Soma Night’ Dream by William Shakespeare
[Potential effects: delusion, hallucinatory reactions, day-dreaming]
The Name of the Prozac by Umberto Eco
[Potential effects: heteroglossia, autodafeic urges, painful homoerotic practices]
How Green Was My Valium by Richard Llewellyn
[Potential effects: underground tendencies, photophobia, sudden death]
Blood Meridia by Cormac McCarthy
[Potential effects: unexpected regression, sudden hair loss, pessimistic beliefs]
The Xanaxic Verses by Salman Rushdie
[Potential effects: feeling of persecution, paranoia, fatwa syndrome]
Portrait of the Plavix as a young man by James Joyce
[Potential effects: epiphanic visions, streams of unconsciousness]
Eugénie Viagrandet by Honoré de Balzac
[Potential effects: platonic love, loss of illusions, personality alterations]
Waiting for Zoloft by Samuel Beckett
[Potential effects: incoherent behaviour, ennui, impression of déjà-vu, suicidal tendencies]
Do Synthroids dream of electric sheep by Philip K. Dick
[Potential effects: compulsive lying, impostor syndrome, robot groping]
Tristram Chantix by Laurence Sterne
[Potential effects: unexpected circumcision, nasal dexterity, incoherent speech]
Lord of the NuvaRing By JRR Tolkien
[Potential effects: facial hair growth, compulsive walking, tree talking]
One Tamiflu over the cuckoo’s nest by Ken Kesey
[Potential effects: feeling of humiliation, nursophilia, nursophobia, lobotomic eyes]
AND many more popular medifiction. All this you can find on our drug-store. Legal and cheap fiction pills only. We are verified by VeriSign and VISA so we provide secure and confidential purchase.
Erasure / Erosion: BARTLEBITS
Bartlebits is about erased sections in books. Most of these are not just corrections but actual deletions, wanted or unwanted. Throughout the various chapters, you will recognise some famous figures or familiar writings. These words, however, have been for some reason taken out and omitted from the original works.
At the end of Bartlebits, sources and links can be found.
Why call this Bartlebits? Maybe because we are dealing here with dead letters. Maybe…
Note that this is a work in progress, in other words a black hole in expansion. Bartlebits is part of our Crashtest series.
READ: HERE
John Ashbery - The instruction manual
New Metal working for the dummies
As I sit looking out of a window of the building
I wish I did not have to write the instruction manual on the uses of a new metal.
Forming Cylinders with Rolls
1. By means of the screws on top of the forming machine, bring both ends of the front rolls
together until the metal sheet will just pass freely between them.
2. Experiment to find the proper height of the rear roll to make a cylinder of the desired diameter.
3. Hold the sheet in a horizontal position with the surface which is to form the outside of the cylinder, against the bottom roll.
4. When using a lock seam, make the cylinder larger than the final diameter and spring the seam together
Riveting sheet-metal joints
1. Holes for rivets having been previously punched by hand or machine, place a rivet thru matched holes in the joint by standing the rivet on its head on a stake and lowering the laps of joint over it
2. Draw the laps together by placing a rivet set over the stem of the rivet and striking the set with a hammer.
3. When a joint requires a number of rivets, place a rivet thru the metal, at both ends but do not clinch it tight, then begin riveting at the middle of the joint and work toward the ends.
4. When the holes for rivets do not exactly match each other in location, use a drift pin to make a hole just large enough for the rivet to pass thru.
5. After rivets have been headed, place the joint over a stake and strike the lapped edges to bring them as close together as possible.
Tinning a Soldering Iron
1. Heat the iron to a bright red.
2. Forge the iron to suit the job by striking with a hammer on an anvil or other heavy metal
block.
3. Heat the iron again to a dark red.
4. Clamp the iron in a vise or hold it against a metal edge and file the surfaces of the point bright and smooth.
5. Heat the iron again until it will melt solder freely.
6. Rub the point of the iron on a lump of sal-ammoniac to clean it, then melt a few drops of solder on the sal-ammoniac and rub the iron over it until it is tinned. Fig. 37.
7. Clean the soldering iron by dipping the point in a solution of sal-ammoniac and water. The solution should be made of one part of sal-ammoniac to forty parts of water. The solution should be kept in a glass or earthenware vessel.
Raising or Bumping Sheet-Metal Forms
1. Carve a shallow circular depression in a wooden or lead block.
2. Hold the sheet in your left hand, place the edge in the depression of the block and bump it with the small end of a raising hammer around the outline of the form to be raised.
3. Continue bumping the metal, gradually turn the sheet after each blow of the hammer and with each revolution work inward toward the center until the right shape is obtained.
4. Hold the raised form over a round-head stake and with a wooden mallet smooth out all dents that were made with the raising hammer.
Wiring Edges
1. Wired edges for cylindrical sliaped objects should be completed while the metal sheet is flat.
2. Insert the wire in the edge prepared by the turning machine or the bar folder and secure the wire at several points by bending the metal over it with a hammer.
3. Place over the lower roll of the wiring machine a section of the edge in which the metal has been bent around the wire and turn the crank screw on top of the machine to bring down the
upper roll.
4. Set the gage so that the wired edge fits snugly between the gage and the edge of the upper roll, then turn the crank screw back about two turns to slightly raise the upper rolL
5. Turn the handle of the machine to draw the entire edge between the rolls.
Flanging or Stretching Metal for Riveted Connections
1. Mark with a gage the width of the edge to be flanged and rest the edge on a flat stake.
2. With the cross peen of a riveting hammer strike the edge to be flanged.
3. Hold the flange flat on the surface of a stake and smooth it with tlie flat face of a hammer.
4. To stretch a right-angle flange for circular work, hold the flange to be formed to a circle
on the square head stake and strike the outer edge of the flange with the cross peen of a
riveting hammer.
5. When a joint of pipe is too small to slip over a connecting joint, slip it over a stake and strike the metal with the peen of a hammer.
Drilling Holes
1. Clamp the drill securely in a breast drill or a drilling machine.
2. With a center punch make a distinct mark to indicate the center of the hole.
3. Place the point of the drill in the center punch mark. When practicable have the metal resting on or against a wooden support.
4. Turn the drill to the right and at the same time force it against the metal. Eelieve the pressure on the drill as it breaks thru the metal.
5. When drilling steel apply oil to the point of the drill. Do not use oil when drilling cast iron.
6. To countersink holes after they are drilled use a drill slightly larger than the head of the screw or bolt to be used in the hole.
7. A star drill may be used to drill holes in brick, stone and concrete.
And as a last breeze freshens the top of the weathered old tower, I turn my gaze
Back to the instruction manual which has made me dream
Acrosticism - Samuel Beckett Vs James Joyce
J might be made sit up for a jade of hope (and exile, don’t you know)
And Jesus and Jesuits juggernauted in the haemorrhoidal isles
Modo and forma anal maiden, giggling to death in stomacho
E for an erythrite of love and silence and the sweet noo style,
Swoops and loops of love and silence in the eye of the sun and the view of the mew,
Juvante Jah and a Jain or two, and the tip of a friendly yiddophile.
O for an opal of faith and cunning winking adieu, adieu, adieu ;
Yesterday shall be tomorrow, riddle me that my rapparee ;
Che sarà sarà, che fu, there’s more than Homer knows how to spew,
Exempli gratia : ecce himself and the pickthank agnus.
C.O.O.C.
Olga Home - JAMES JOYCE
Sweet noo style
An erythrite of love
Maiden giggling to death
Up for a jade of hope in the
Eye of the sun
Love and silence
Be
Exempli gratia
Cunning winking adieu, che fu, there’s more than Homer
Knows how to spew
Ecce himself
Tip of a friendly yiddophile in
The haemorrhoidal isles
Content ZsWarnings
This blog contains scenes that some readers may find disturbing
Reader discretion advised
Intended for immature and illiterate audiences only
Contains scenes of a poetic nature
This blog contains strong poetic language
The opinions expressed in this blog do not necessarily reflect the views of the author
The blog contains images and words. Do not sit too close to the screen.
Careful: Pervasive language
Please do not try to write this kind of stuff at home
Ultrazswound
I am cross-posting here: ultrazswound
(I am creating a sort of distorted reflection of Zswound somewhere else, in another galaxy)
Katz as katz can, the book that never existed.
Katz! Katz! burning bright
In the forests of the night,
What immortal hand or eye
Could frame thy fearful symmetry?
In February 2012, Flammarion found that cats looked like mice. One fine morning Flammarion the famous publisher realised that Art Spiegelman's MAUS had been undeniably plagiarised. Same events, same number of pages, same design, same characters except for one little / major detail: all characters in the original book had become cats. The hand that framed this fearful and unbearable symmetry was soon to be discovered: Ilan Manouach comic book author.
So, it was with a deeply twisted heart that Ilan Manouach and his publisher, Xavier Löwenthal, saw the copies shredded and destroyed leaving just a heap of dead paper that they decided to even further destroy. The furnace was in their brains but when they started to set fire to the paper, the police stopped them and declared it was illegal to burn a fire in an urban space.
But still the stars threw some spears and, forgetting their tears, Ilan and Xavier decided to revive the lost book and document some of the memories around it. The Other book was named MetaKatz, a symetrical reference to Spiegelman's MetaMAUS. Similarly, MetaKatz contains a series of articles and a DVD. It is now available from La 5eme Couche.
Katz! Katz! burning bright
In the forests of the night,
What immortal hand or eye
Dare frame thy fearful symmetry?
**************
To read more about MetaKATZ: LA 5eme Couche
To read MetaKATZ: Complete PDF
In the forests of the night,
What immortal hand or eye
Could frame thy fearful symmetry?
In February 2012, Flammarion found that cats looked like mice. One fine morning Flammarion the famous publisher realised that Art Spiegelman's MAUS had been undeniably plagiarised. Same events, same number of pages, same design, same characters except for one little / major detail: all characters in the original book had become cats. The hand that framed this fearful and unbearable symmetry was soon to be discovered: Ilan Manouach comic book author.
Who would seize the fire should perish in fire. And so it was. All of the copies of Katz which had been secretely published by La 5eme couche, a small and independant Belgian press were declared illegal and were doomed to destruction. All copies (approximately 800) and the electronic files had to be suppressed which was diligently done by the Belgian publisher as part of an agreement with Flammarion which holds the rights to Spiegelman's book.
So whenever, you take a copy of Maus again and thumb through these volumes, think of the Katz, all the Katz buring bright in the forests of these pages, hiding somewhere behind these gently anthropomorphic animals who are trying to tell one story. Behind Art Spiegelman's story, try and read the other story, the one with just one humanity, one single race in a world which is avoiding differentiation and singularity. No über-katz versus unter-maus. This other version exists somewhere with nobody to see this hidden work. Unless taking of course the original Maus itself and reading behind the lines, looking for the missing images in another dimension.
Katz! Katz! burning bright
In the forests of the night,
What immortal hand or eye
Dare frame thy fearful symmetry?
**************
To read more about MetaKATZ: LA 5eme Couche
To read MetaKATZ: Complete PDF
Erasure - The Deletionist
The DELETIONIST
The Butterfly Effect
Once Gregor Samsa dreamt he was a bug but when he woke up he didn't know if he was Gregor Samsa who had dreamt he was a bug, or a bug dreaming he was Gregor Samsa.
Once John Merrick dreamt he was an elephant but when he woke up he didn't know if he was John Merrick who had dreamt he was an elephant, or an elephant dreaming he was John Merrick.
Once Alice Liddel dreamt she was a white rabbit but when she woke up she didn't know if she was Alice who had dreamt she was a rabbit, or a rabbit dreaming she was Alice.
Once Edgar Poe dreamt he was a raven but when he woke up he didn't know if he was Edgar Poe who had dreamt he was a raven, or a raven dreaming he was Edgar Poe.
Once Philip K. Dick dreamt he was an electric sheep but when he woke up he didn't know if he was Philip K. Dick who had dreamt he was an electric sheep, or an electric sheep dreaming he was Philip K. Dick.
Once Captain Ahab dreamt he was Moby Dick but when he woke up he didn't know if he was Captain Ahab who had dreamt he was Moby Dick, or Moby Dick dreaming he was Captain Ahab.
Once Lord Greystoke dreamt he was a gorilla but when he woke up he didn't know if he was Lord Greystoke who had dreamt he was a gorilla, or a gorilla dreaming he was Lord Greystoke.
Once William Blake dreamt he was a tyger, tyger burning bright but when he woke up up he didn't know if he was Blake who had dreamt he was a tyger, or a burning tyger dreaming he was William Blake.
Once Bruce Wayne dreamt he was a bat but when he woke up up he didn't know if he was Bruce Wayne who had dreamt he was a bat, or a bat dreaming he was Bruce Wayne.
Once Dino Buzzatti dreamt he was a shark but when he woke up up he didn't know if he was Dino Buzzatti who had dreamt he was a shark, or a shark dreaming he was Dino Buzzatti.
Once Seth Brundle dreamt he was a fly but when he woke up up he didn't know if he was Seth Brundle who had dreamt he was a fly, or a fly dreaming he was Seth Brundle.
Once Vladimir Nabokov dreamt he was a butterfly but when he woke up he didn't know if he was Vladimir Nabokov who had dreamt he was a butterfly, or a butterfly dreaming he was Chuang-Tzu dreaming he was Gregor Samsa dreaming he was a bug dreaming he was John Merrick dreaming he was an elephant dreaming he has Alice Liddel dreaming she was a white rabbit dreaming he was Edgar Poe dreaming he was a raven dreaming he was Philip K. Dick dreaming he was an electric sheep dreaming he was Captain Ahab dreaming he was a whale dreaming he was Lord Greystoke dreaming he was a gorilla dreaming he was William Blake dreaming he was a tyger dreaming he was Bruce Wayne dreaming he was a bat dreaming he was Dino Buzzatti dreaming he was a shark dreaming he Seth Brundle dreaming he was a fly.
and Andy Warhol shot Andy Warhol (after JG Ballard)
And Alfred Eisenstaedt shot John F. Kennedy
and Neil Armstrong shot Buzz Aldrin
and Edwin E. Aldrin Jr shot Neil Armstrong
and Ira Rosenberg shot Muhammad Ali
and Annie Leibovitz shot Lance Armstrong
and George Hurrell shot Humphrey Bogart
and Ricardo Stuckert shot Bono
and Yousuf Karsh shot Winston Churchill
and Mark Seliger shot Kurt Cobain
and Luca Galuzzi shot the 14th Dalai Lama
and Philippe Halsman shot Salvador Dali
and Anton Corbijn shot Miles Davis
and Patrick Dermarchelier shot Princess Diana
and Levin C. Handy shot Thomas Edison
and Arthur Sasse shot Albert Einstein
and Yousuf Karsh shot Dwight D. Eisenhower
and Annie Leibovitz shot Queen Elizabeth II
and Richard Young shot Pope John Paul II
and Bruce McBroom shot Farrah Fawcett
and Walter Albertin shot Federico Fellini
and Alberto Korda shot Che Guevara
and Yousuf Karsh shot Ernest Hemingway
and John Kobal shot Audrey Hepburn
and George Holliday shot Rodney King
and Joshua Massel shot Michael Jordan
and David McGough shot Andy Kaufman
and Loomis Dean shot Grace Kelly
and Howard Sochure shot Martin Luther King
and Stanley Kubrick shot Stanley Kubrick
and Vincent Fantauzzo shot Heath Ledger
and L. Léonido shot Vladimir Lenin
and Andy Warhol shot John Lennon
and Annie Leibovitz shot Yoko Ono and John Lennon
and Alexander Gardner shot Abraham Lincoln
and Anne Clifford shot Sophia Loren
and Matty Zimmerman shot Marilyn Monroe
and Milton H. Greene shot Marilyn Monroe
and Robert H. Jackson shot Lee Harvey Oswald
and Robert H. Jackson shot Jack Ruby
and Annie Leibovitz shot Demi Moore
and Joel Brodsky shot Jim Morrison
and Arthur Schatz shot Jack Nicholson
and Petr Novák shot Robert De Niro
and Mark Shaw shot Jacqueline Kennedy Onassis
and Henri Cartier Bresson shot Mahatma Gandhi
and Felix Nadar shot Louis Pasteur
and Bill Eppridge shot Robert Kennedy
and Yousuf Karsh shot Pablo Picasso
and W.S. Hartshorn shot Edgar Allan Poe
and John Domini Frank Sinatra
and Túrelio shot Mother Teresa
and Mark Seliger shot Christopher Walken
and Loomis Dean shot John Wayne
and Jim Hendin shot Marvin Gaye
and Ron Edmonds shot Ronald Reagan
and Carl Van Vechten shot Orson Welles
and Marion S. Trikosko shot Malcolm X
and Andy Warhol shot Andy Warhol
Émilie Brout & Maxime Marion: Google Earth Movies
"Google Earth Movies project consists in a series of interactive adaptations of emblematic sequences extracted from famous movies, recreated and played in Google Earth.
In this visualization software, which allows exploring the 3D world from many satellite sources - topographical and weather satellites - the original video camera movements are precisely transcribed in the original filming location and with the original soundtrack synchronized. Moreover, the software being interactive, a joystick may be used to manipulate the camera during the reading to observe the whole screen out landscape.
Thus, it is a striking cinematographic experience that is given to us: the objectivation operated by Google Earth, presenting ghostly worlds emptied from any characters, allows to be focused on the framing and the editing of these well-known movies haunting our imagination. Putting these narrative sequences back in context establishes a true bridge between these cinematographic, physical and virtual spaces. The spectator is freed from the frame and from the territory; he is given a new space of time, a sort of intimate screen out, interrogating its link to the real and to fiction. "
Google Earth Movies
View first scenes from The Shining (Stanley Kubrick, 1980), Once Upon a time in America (Sergio Leone, 1984), Apocalypse Now (Francis Ford Coppola, 1979), Fellini's Roma (Federico Fellini, 1972):
Pope - Farewell to Rome
DEAR, damn’d,
distracting town, farewell!
Thy fools no more I
’ll tease:
This year in peace, ye
Critics, dwell,
Ye Harlots, sleep at
ease!
Soft B*** and rough C***,
adieu!
E** W***, make your
moan;
The lively H*** and
you
May knock up whores
alone.
To drink and droll be R***
allow’d
Till the third
watchman’s toll;
Let J*** gratis paint,
and F***
Save threepence and
his soul.
Farewell A***’s
raillery
On every learned sot;
And G***, the best
good Christian he,
Although he knows it
not.
L***, farewell! thy
bard must go;
Farewell, unhappy T***!
Heav’n gives thee for
thy loss of R***,
Lean P*** and fat J***
Why should I stay?
Both parties rage;
My vixen mistress
squalls;
The Wits in envious
feuds engage;
And H*** (damn him!)
calls.
The love of arts lies
cold and dead
In H***’s urn;
And not one Muse of
all he fed
Has yet the grace to
mourn.
My friends, by turns,
my friends confound,
Betray, and are
betray’d:
Poor Y***’s sold for
fifty pounds,
And B*** is a jade.
Why make I friendships
with the great,
When I no favour seek?
Or follow girls seven
hours in eight?
I need but once a
week.
Still idle, with a
busy air,
Deep whimseys to
contrive;
The gayest
valetudinarie,
Most thinking rake
alive.
Solicitous for others’
ends,
Tho’ fond of dear
repose;
Careless or drowsy
with my friends,
And frolic with my
foes.
Luxurious
lobster-nights, farewell,
For sober, studious
days!
And B***’s delicious
meal,
For salads, tarts, and
pease!
Adieu to all but G***
alone,
Whose soul sincere and
free,
Loves all mankind but
flatters none,
And so may starve with
me.
__________________________________________________________
To identify the names
which have been erased by the author, please consult the list of cardinals: ABRIL y
CASTELLÓ, AGNELO Geraldo Majella, ALENCHERRY George, AMATO Angelo, AMIGO
VALLEJO Carlos, ANTONELLI Ennio, ASSIS Raymundo DAMASCENO, AVIZ João BRAZ de, BAČKIS
Audrys Juozas, BAGNASCO Angelo, BARBARIN Philippe, BERGOGLIO Jorge Mario, BERTELLO
Giuseppe, BERTONE Tarcisio, BETORI Giuseppe, BOZANIĆ Josip, BRADY Seán Baptist,
BURKE Raymond Leo, CAFFARRA Carlo, CALCAGNO Domenico, CAÑIZARES LLOVERA Antonio,
CIPRIANI THORNE Juan Luis, COCCOPALMERIO Francesco, COLLINS Thomas Christopher,
COMASTRI Angelo, CORDES Paul Josef, DANNEELS Godfried, DARMAATMADJA Julius
Riyadi, DE PAOLIS Velasio, DIAS Ivan, DiNARDO Daniel Nicholas, DOLAN Timothy
Michael, DUKA Dominik, DZIWISZ Stanisław, EIJK Willem Jacobus, ERDŐ Péter, ERRÁZURIZ
OSSA Francisco Javier, dei P. di Schönstatt, FARINA Raffaele, FILONI Fernando, GEORGE
Francis Eugene, GRACIAS Oswald, GROCHOLEWSKI Zenon, HARVEY James Michael, HUMMES
Cláudio, HUSAR Lubomyr, KASPER Walter, KOCH Kurt, LAJOLO Giovanni, LEHMANN Karl,
LEVADA William Joseph, LÓPEZ RODRÍGUEZ Nicolás de Jesús, MAHONY Roger Michael, MARTÍNEZ
SISTACH Lluís, MARX Reinhard, MEISNER Joachim, MONSENGWO PASINYA Laurent, MONTEIRO
de CASTRO Manuel, MONTERISI Francesco, NAGUIB Antonius, NAPIER Wilfrid Fox, NICORA
Attilio, NJUE John, NYCZ Kazimierz, O’BRIEN Edwin Frederick, O’BRIEN Keith
Michael Patrick, OKOGIE Anthony Olubunmi, O'MALLEY Seán Patrick,, ONAIYEKAN
John Olorunfemi, ORTEGA Y ALAMINO Jaime Lucas, OUELLET Marc, PATABANDIGE DON
Albert Malcolm Ranjith, PELL George, PENGO Polycarp, PHAM MINH MÂN
Jean-Baptiste, PIACENZA Mauro, POLETTO Severino, POLICARPO José da CRUZ, PULJIĆ
Vinko, RAÏ Béchara Boutros, RAVASI Gianfranco, RE Giovanni Battista, RICARD
Jean-Pierre, RIGALI Justin Francis, RIVERA CARRERA Norberto, ROBLES ORTEGA
Francisco, RODÉ Franc, RODRÍGUEZ MARADIAGA Oscar Andrés, ROMEO Paolo, ROUCO
VARELA Antonio María, RYŁKO Stanisław, SALAZAR GÓMEZ Rubén, SANDOVAL ÍÑIGUEZ
Juan, SANDRI Leonardo, SARAH Robert, SARDI Paolo, SARR Théodore-Adrien, SCHEID
Eusébio Oscar, SCHERER Odilo Pedro, SCHÖNBORN Christoph, SCOLA Angelo, SEPE
Crescenzio, TAGLE Luis Antonio, TAURAN Jean-Louis, TERRAZAS SANDOVAL Julio, TETTAMANZI
Dionigi, THOTTUNKAL Baselios Cleemis, TONG Hon John, TOPPO Telesphore Placidus,
TURCOTTE Jean-Claude, TURKSON Peter Kodwo Appiah, UROSA SAVINO Jorge Liberato, VALLINI
Agostino, VEGLIÒ Antonio Maria, VELA CHIRIBOGA Raúl Eduardo, VERSALDI Giuseppe,
VINGT-TROIS André, WOELKI Rainer Maria, WUERL Donald William, ZUBEIR WAKO
Gabriel.... Although the person referred to in the last stanza may be some kind of unknown deity.
__________________________________________________________
More popetry on Zswound: Sweet Sixteen
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