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General Submissions are now open..

We are currently accepting submissions for our inaugural Book Contest judged by Forrest Gander for Poetry, Hybrid or Translation Manuscripts. Deadline is June 25th, 2014. We are also accepting submissions for Poetry, Reviews, Translation, Fiction, Art, and Nonfiction (deadlines as noted per genre).

We are also accepting submissions for two special folios to celebrate our 15th anniversary. We are accepting submissions to the Poetry Comix/Animation folio, guest-edited by Michael Chaney and Marco Maisto and the Affrilachian Arts folio.

Radha Says

The final collection by award-winning poet Reetika Vazirani, published by Drunken Boat.

Excerpt | Purchase | Review

Hide-and-Seek-Muse

Annotations of contemporary poetry edited by Lisa Russ Spaar, published by Drunken Boat.

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The GLI.TC/H festivals in Chicago IL, Amsterdam NL and Birmingham, UK will be featuring a number of Drunken Boat artists (and DB arts editor Rob Ray.) If you enjoy the work of Jon Satrom, Rosa Menkman, Vaudeo Signal, and can get to one of the festivals check the line-up and schedule for more info.

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Published Oct 28, 2011 - Comments Off

http://postvideoart.wordpress.com/2011/09/25/fake-art-2/

What does the idea of the FAKE ART exhibition consist in? The nature of art, according to Brzezinski, lies in the sign. The sign is the material means (the medium) and the object to which it refers (meaning). Digital video, though, does not have the characteristics typical for other media (a pixel is not a feature of vector graphics, image flatness is not a feature of a 3D image, and each image may be printed or projected in various ways.) Thus, it is features of the final form of presentation, not features of the digital image, that constitute artifacts and visible features. In this respect, the digital image is a perfect potentiality: its characteristic feature is a lack of features. Brzezinski has coined the term of ‘d-effect’ in order to render the double relationship between an effect and a defect, to undermine ‘failure’ aesthetics by introducing the term of ‘fake’.

What consequences does it bring to the digital image aesthetics? Media art has traditionally equated the meaning with the medium, exploring aesthetic properties of the medium. Tautological forms have been created which, supposedly, refer the meaning to the medium itself. Fake art aims to transcend this construction and refer digital image to other media since digital video lacks intrinsic features and cannot naively refer to itself. In this respect, the idea of art according to Brzezinski thus approaches the classic situation known from figurative art which depicts external meanings in the medium, for instance, a deer painted on canvas using oil paint or a light projection on the wall. Classic art also equates the form with the content. Brzezinski reinstates the sign in the digital era. Instead of simulating the deer or depicting the medium itself, FAKE ART strives to falsify other media. With the use of one medium, it visualizes impossible constructions of another medium, uses irony and generates absurd research results.

For example, Brzezinski simulates an explosion of gold nano-particles or a process of bacterial incubation which is calculated in 3D space on the basis of a DNA code of a flu virus. From the scientific point of view, these constitute absurd actions, non-existent in nature, neither discovering nor depicting the truth about the world. Nevertheless, in the context of art, they acquire an aesthetic, often metaphorical or symbolical dimension. Structures of this type, which infect science and transform it into art, are actualisations of conceptual art. Processing of objects, images and artifacts of the cognitive process aims to blur the obviousness of conclusions drawn and sometimes to fabricate theories that would have a social, political, religious or even mystical dimension. This dimension, however, will only come into being as a result of interpreting a fraudulent fact.

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Published Oct 26, 2011 - Comments Off

In anticipation of our new reviews section upcoming in DB#15, Drunken Boat will be featuring mini-reviews on our blog every two weeks. You can subscribe to our RSS feed or check back in to see what our favorite writers have been reading.

The book that I’m reading with the greatest relish at present is Kazuo Ishiguro’s novel The Unconsoled. I’m also making progress with Hume’s Treatise of Human Nature, which seems quite sensible to me, and leafing through Eliot Weinberger’s collection Karmic Traces, which provides an antidote to the Hume. Roberto Bolano’s Savage Detectives, which I began earlier this summer, remains
unfinished on my bedside. I was late coming to that novel, and it seems I’ll be late in finishing it as well. I find little rhyme or reason to these selections, unless the itinerant pleasure of browsing offers its own justification.

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Published Oct 18, 2011 - Comments Off

In anticipation of our new reviews section in our upcoming DB#15, Drunken Boat will be featuring mini-reviews on our blog every two weeks. You can subscribe to our RSS feed or check back in to see what our favorite writers have been reading.

Right now I’m reading: Tayari Jones’s Silver Sparrow, a beautifully drawn evocation of 1980s Atlanta centering on two sisters sharing a bigamist father; Ishmael Reed’s Juice, a witty, angry, innovative new novel that plays upon the OJ Simpson criminal trial; Teju Cole’s Open City, whose narrator demonstrates how the flow of an engaged mind can surpass, while also effective constituting, the most compelling plot; Pamela Lu’s Ambient Parking Lot, which, through its ambient trajectory, takes standard band and travel narratives to unexpected and exciting places; and Roberto Bolano’s Between Parenthesis, whose brief, tight essays snare your consciousness like golden fishhooks.

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Published Oct 04, 2011 - Comments Off