Wednesday, February 20, 2008

Metempyschose: Call for Cover Artwork


I am currently looking for cover art for my chapbook, Metempsychose, which is set for publication in Fall, 2008.

Here is what I'm looking for:

--Something to do directly (or indirectly) with the title
--drawing, painting, doodle, low resolution jpg.
--something surreal, yet not over-the-top surreal
--color image (drawings/sketches are the exception)

Please send images to:matinals@gmail. com

please place 'image for book' in the header
so I know it's not spam.

If your image is selected to be the cover, you will receive a complimentary copy, and artist acknowledgment/bio block.

Additional information/links/review:

--this is a poetry and diagram book inspired by Tram Comb's often dizzying kinetic poetry.


Human Only ........Nerve Endings

..........Creation and others

Metempsychose reviewed:

The Minesweeper
(A Faucher/Kaper/Racovitza Pattern)

by Carmen Racovitza

Matina. Gifted poet. In and outside virtual environments. Priestess, lab worker and ....minesweeper. Minesweeping here as a mind-manifesting technology of the soul …A spectacle. Flags flying & all…(mine finger bomb green-brown have spun a braid/out of sweating dynamite). A daring minesweeper in a world of obscure, diminutive land deminers…
.....Grants a measure of control over a dream-like reality. Picks and chooses mine-archetypes (what is metaphorically lost in the mind can still evoke visions) which must be tamed.
....An active, but subdued ecstatic experience. At the heart of these ceremonies involving creation seen as "six days of interwoven dreams" there are new tools (charges to be detonated remotely) to neutralize the old notions and to instill the knowledge necessary for new movement: "still we haven’t lost the weight of a word – nor the implied space between fact and fiction". Boom 1!
.....Temporary expansions of consciousness make her deaden the physical environment a little, (many walls have been stirred by nonpresence) as to make it be re-worked after a while according to a positively linear perspective seen through a window(or visor) as point of separation between her and the world, between the artist and the materiality of the world that is to be represented, she being safely "cocooned in language"(helmets, armoured gloves & boots)..
Using these as points of reference, she traces a grid over the window(visor), thus breaking down the material to be represented into manageable units. She looks between /at the nodes : Coma(Nine Dreams), Coma(Nine[more]Dreams) with Fracture v. 2 before Coma:Coming Out of Nine Dreams and Coma: Recalling Visions to the From.
.....The "nodes" are 1-line "dreams", intricate Sabian symbols, with explanations as confusing as the dreams themselves. Beautiful! Really beautiful!! Example: 5. a boudoir(3) – garden of beds where (3) means: calmly laid : as in her ermine trimmed coat and German croon. All traces of bodily interaction have been etched away into words on a screen designed to have their acoustic and magnetic signatures, reduced, alleviated..…et Boom 2!
.....Vision becomes the primary means of interacting with her world where everything seems to be un-quantifiable, un-predictable and un-amenable. Her movements, in and out, are touched by concentration , which strongly asserts itself as the plain cultural metaphor I told you about: the minesweeper, the death-delayer, the surprise-dead…The world outside is strangely on a motionless move. There is change in the air propped up by thin, wiry metal legs, hanging…(recollections in microfiche: slowly turning/turning still – Calderian).
.....Her new self, her new persona is hidden behind her safety pillow-like pads and shock-absorbers which, in their turn, are safely stuffed with all her monsters, fears of destruction, dangerous dreams. Immediate danger (lover, perception, nonexistence) makes her see both worlds clearly…the world on this side of the helmet, another world, on the other side. She frees the figures of the unconscious from their convulsive catalepsy inside herself. Here they can function only as signs: their inner movement ceases. She discovers death is tamable. All minesweepers know this.
.....Matina is among the best lucid dreamers I’ve ever met. She can control the "dream" of the environment perfectly (the lunatic rationalizes while in the throes of a cunilingual dream), she can manipulate objects in the environment (elongate/body’s dusty shadows/stretched between perpetuity and rest) or call up different scenes she can mentally change (I whisper extravagant space).
.....She sets up a kind of hierarchy of techniques with which the minesweeper can eventually rid himself of the tension and become an independent half-dead, half-alive ego-point : "with a voodoo heart /with sharpest pins /jabbing into perpetuity /my name".
.....Her environments are built around frozen presences that stand for the object as something like an assemblage of pictures of that object in the world. It seems to be an integral part of the dream’s structure. And the world speaks through it, giving the figures their stubborn separateness, their own intelligence apart from the dreamer. Matina’s actions in the dream draw out this intelligence, while we make real progress being pushed more deeply into this aggressive wilderness of mirrors.
.....We have here the lucidity and the superhuman concentration of a perfect minesweeper who knows exactly how to juggle with those straight-jacket techniques that ultimately save her life (as a poet), letting them fall freely.
.....Enumeration itself is an aggregate of pauses attempting to ground the unity of the subject under investigation enmeshed in tactile and optical codes - minesweeper abilities – defiling of a personal canon of empirical singularity (where singularity of an event means an unfolding series of non-events).
.....A minesweeper’s world is that of particular relics (frosted windows, boxes of glass eyes), paraphernalia(compass-metal sextant), varia (Bell Jars; Curie’s radioactive hair), detailed addenda…
....It is as if the time of her text is infinite in its duration, while the apparently lifeless representation of mere details, categorically defined, are all made "visible" by an implement of ocular prosthesis (oculus, glass eyes, lenses) that swallow the landscape : alternation of zones of disastrous impact, highly porous areas, sieves, craters or empty elements of moon reliefs, aphasic accidents, caves or cyberhouses.
.....Deminer of the word, during her free time…..with full minesweeping job, during her busy time, Matina is a master of survival. And …she is still alive.

She hasn’t made any mistake yet …

No comments: