Call For Submissions /seconds Issue 9

'For us, tired hedonists of this end of the century…' [Alain Badiou, The Century]

'We have discovered happiness,' say the Last Men, and they blink.'
[Friedrich Nietzsche, Thus Spake Zarasthustra]

What do we learn of happiness from B-Movies? How to 'faire faux'? Make things worse to make them better? Spit on the grave of convention, the family?

The original cult road movie, Vanishing Point by Richard Saratian [1971] starring Barry Newman as the nomadic, sexually jaded ex-policeman Kowalski, fugitive driver of a 1970 Dodge Challenger, is betrayed in the 1997 version remake in the characterisation of the American hero, family man, whose wife is having a baby; a mutilation of the spirit of subversion, the vicious parasite to the virtuous host. The original, in contrast of its 'copy' , surpasses many lukewarm imaginaries of the [death] drive and the impossibility of love. An amphetamine-fuelled flight from the law, it celebrates the violence of the system in the visual beauty and freedom of the 'dromoscopic' desert. Shot at speed, it approaches an Imaginary Real, a 'vanishing point'. To transform the delirium of rebellion from the ellipse of cinematic space, the drive concentrates our attention upon the vanishing point. Discipline and focus is required of the nomadic. Vanishing Point provides a desacrilised after-image of disenchantment, angelic message turned to sour fact, and is at its very best an inspired gesture of the futility of love, or of the parasite's wildness at the heart of the antiheroism, unnerved yet uncompromising in the face of death and psychosis.

/seconds invites open responses to issue No.9 on Vanishing Point: The Vicious and Virtuous Circle

Works in all media accepted

Please send material online, emails and attachments to the editor at the addresses:
Vanishing Point: The Vicious and Virtuous Circle

Who: /seconds
What: Call For Submissions /seconds Issue 9
Further Details:
View Issues 1-8 online
Deadline: Thu 3 Jul 2008