Opportunity for Artists in Pioneer Square

Posted on July 14, 2010 by Splabman

The Seattle Office of Arts & Cultural Affairs, in partnership with Shunpike, seeks up to 12 artists to develop temporary installations for 12 vacant storefronts in Seattle’s Pioneer Square and Chinatown/International District neighborhoods. The installation project, titled Storefronts Seattle, will be on display from September to November 2010. Artwork may be in any two-dimensional, three-dimensional or new media. Artists may be selected for more than one installation.

Storefronts Seattle is a pilot program to make vacant storefront space available for creative uses with the possibility of future expansion to other Seattle neighborhoods. The installation project is part of a series of opportunities that include artist residencies using storefronts, where visual and performing artist can create work, rehearse and/or perform.

Apply via CaFE at the website below.
Open to artists living within 100 miles of Seattle.
Deadline: July 26, 2010
Budget: $500 per installation

Information: www.callforentry.org or email Ellen Whitlock Baker ellen@shunpike.org

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The Return of the Son of the August Poetry Postcard Fest

Posted on July 12, 2010 by Splabman

From Lana Ayers:

Dear Poets,
The August Poetry Postcard Fest is taking sign-ups via the online system. If you are ready to write a poem on a postcard everyday for the month of August sign up now.  In addition to writing 31 wonderful poems yourself, you’ll receive these wonderful poestcards in your mailbox too.
Everyone who is interested will need to register online (even if you have participated in the past).
Your email will be your login and you choose a password.
Here’s the link:
If you have any difficulty, email postcardpoetry@yahoo.com
Have a great time postcarding,
Lana
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From Davis Schneiderman

Posted on July 10, 2010 by Splabman

At the recent 2010 Printers Row Lit Fest in Chicago, a reader asked me what my new novel DRAIN is about.  I answered, in one breath…

“A near-future where Lake Michigan empties of water and a group of disenfranchised peoples moves in–an end-of-times cult that worships a giant worm–and then, after some years, a planned community corporation, with towns not unlike Disney’s Celebration, Florida, tries to bulldoze the cultists out of the lakebed. DRAIN is about the conflict between the two groups, with alternating chapters that follow 1) a corporate employee called Washington Jefferson Lincoln Qui and 2) the leader of a paramilitary gang raised in the planned communities but set on revolt, called Dial-Up Networking.”

The questioner responded, after a pause: “Sounds great. Is it fiction?”

I invite you to find out for yourself by picking up a copy–or ten–for you and your loved ones.

@Amazon: http://tiny.cc/efvnh
@Northwestern U P: http://tiny.cc/bs1dz
@davisschneiderman.com: http://davisschneiderman.com/drain.html

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New Charles Olson; Projective Verse II

Posted on July 9, 2010 by Splabman

Charles Olson, The Principle of Measure in Composition by Field: Projective Verse II, ed. by Joshua Hoeynck
Work from the Olson archive, an important edition to the original Projective Verse essay by Olson.
ISBN 9780925904959
56 pages
$15

Charles Olson, Projective Verse II

Charles Olson, Projective Verse II

“A poem has so many things to which it must do equal justice if it is to establish its own bounds (be inclusive). They can be summarized (and my intent here is to say it all): atomism (that sounds, at no smallest point ain’t also particles, as both said & heard); continuity (that old flow still flows, even though statement can no longer be an adequate syntax to it – wave is wave of something at all points, both the particle and, because it is a thing, its ‘environment’ – what, its passing through, it is different by as well as what it catches up, what adheres to it); causation (but not that moralistic one – the Coleridgian – of fact & reason; cause in physical sensation, the obverse of which – what lies under it – giving it its allowance at all, that the systematic geometries occur superficially as the face of, cause); memory (than whom there is still no muse more, the more that things, in their retention, put more demand on the poet than merely his ‘own’ material, shall we say); perception (of which the same extension as of memory needs to be emphasized – that the conceptual, no matter how ‘mental,’ and as such the dipolar to perception, still a powerful discrimination is basic, it is this, the actualities have to be felt, while the pure potentials can be dismissed. This is the great distinction between an actual entity (nothing is there except for feeling) and an eternal object (Idea).  A poem is made up of both.”
— Charles Olson,
from “Notes on Poetics (towards Projective Verse II)”

http://www.chax.org/ but not yet listed on the website.

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