By Numsiri Kunakemakorn Editor, Lesha Hurliman Editor

WithoutCovers incites dialog, debate, argument, and so much pressingly, questions in regards to the purposes in the back of and results of small literary magazines relocating to on-line publishing. Questions mentioned are: Is it attainable? How? whilst? and the main confusing, Why? throughout the musings of 19 famous editors, poets, fiction, nonfiction, and hypertext writers, readers can eavesdrop right into a dialogue of the aim and politics of on-line publishing that has created a brand new bridge among conventional literary pursuits and present institutional, cultural, and fiscal pressures to target expertise.

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Sample text

Although hostile to the Futurists’ glori¤cation of the machine world and mechanization, the Dadaists nonetheless experimented extensively with machines and machine processes. From Duchamp’s moving sculptures (he is credited with the invention of the mobile), Rotative Plaques and Roto-reliefs to the photographic innovations of Man Ray (including “Rayographs”) and the experimental ¤lms of Hans Richter and Viking Egeling, the Dadaists transformed art through technology by using the latter as a constitutive part of their creative, or, one might say, constructing—fabricating—practices.

El Corno was a network— letters going back and forth between poets, between people.

The Dadaists protested against the suffocating traditions and conventions of academic art, literature, and theater, and against the self-satisfaction and blindness of the bourgeoisie, which they believed had led to the horrors of World War I. “The of¤cial belief in the infallibility of reason, logic and causality seemed to us senseless—as senseless as the destruction of the world and the systematic elimination of every particle of human feeling,” the Dada artist and ¤lmmaker Hans Richter wrote.

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