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SUBMISSION GUIDELINES

WHICH ARE

EITHER, IF READ

OR CONTEMPLATED

AS SUCH, RESPECTIVELY,

A POEM {CUM APPEAL}

(WHEN PUBLISHED BY THE ARTIST)

A PICTURE

(WHEN

EITHER PUBLISHED BY OTHERS

OR, IN ANY EVENT, DISPLAYED,

[AS IT WERE])

OR, IF USED BY THE READER FOR THE ANALYSIS OF OTHER WORKS,

A TOOL

AND, IN ANY MANNER OF RECEPTION,

A SELF-REFERENTIAL ETUDE INGO PORADA MMIV

SUBMISSION GUIDELINES

INGO PORADA

THE ARTIST (OF

POST-MODERN SOCIETY

BOX 439, TOKYO,

WILL CONSIDER FOR

100-8691) APPEALS FOR

OUR MULTI-CULTURAL,

RECEPTION

{...

W O R K S

C. P. O.

DONATIONS OF}

O F

L I T E R A T U R E

WHICH { ARE IN BOOK FORMAT

AND WHICH ARE BI - LINGUAL

OR MULTI - LINGUAL

OR / AND BI - SYLLABIC

OR MULTI - SYLLABIC EDITIONS , IN ANY

SUBMISSION GUIDELINES

INGO PORADA

TWO

OR MORE LANGUAGES

( INCLUDING ,

EITHER, BE IT BY THEMSELVES

OR IN COMBINATION WITH ANY ONE

OR SEVERAL

OR ALL OF THE OTHER ONES ,

SUBMISSION GUIDELINES

INGO PORADA

AS IT WERE , CONSTRUCTED

ARTIFICIAL ,

ALTERNATIVE , ARCHAIC ,

AND [ RE -] EVOLVING LANGUAGES ,

OR LANGUAGES WHOSE SIGNIFICATION POTENTIAL IS LACKING

OR INCHOATE ,

OR WHICH ACCOMMODATE ALTERNATIVE ,

iii

SUBMISSION GUIDELINES

INGO PORADA

COMPETING , COMPLEMENTARY

OR / AND AUXILIARY SIGNIFICATION CAPACITY , WHETHER THEY DO SO

EITHER BY CONCEPTION

OR BY USE ,

OR BOTH ,

OR LANGUAGES FOR SPECIES - TRANSCENDING

OR / AND TRANS - HISTORICAL

SUBMISSION GUIDELINES

INGO PORADA

USE ,

I . E ., LANGUAGES FOR ‘ INTER - SPECIES ’

OR HUMAN - MACHINE COMMUNICATION ,

OR LANGUAGES FOR INANIMATE USERS )

OR / AND SYLLABARIES

( INCLUDING ,

EITHER, BE IT BY THEMSELVES

OR IN COMBINATION WITH

SUBMISSION GUIDELINES

INGO PORADA

ANY ONE

OR SEVERAL

OR ALL OF THE OTHER ONES , AS IT WERE , CONSTRUCTED

ARTIFICIAL ,

ALTERNATIVE , ARCHAIC ,

AND [ RE -] EVOLVING SYLLABARIES ,

OR SYLLABARIES WHOSE SIGNIFICATION POTENTIAL IS

SUBMISSION GUIDELINES

INGO PORADA

LACKING

OR INCHOATE ,

OR WHICH ACCOMMODATE ALTERNATIVE , COMPETING , COMPLEMENTARY

OR / AND AUXILIARY SIGNIFICATION CAPACITY , WHETHER THEY DO SO

EITHER BY CONCEPTION

OR BY USE ,

OR vii

SUBMISSION GUIDELINES

INGO PORADA

BOTH ,

OR SYLLABARIES FOR SPECIES - TRANSCENDING

OR / AND TRANS - HISTORICAL USE ,

I . E ., SYLLABARIES FOR ‘ INTER - SPECIES ’

OR / AND HUMAN - MACHINE COMMUNICATION ,

OR SYLLABARIES FOR INANIMATE USERS )

OR / AND WHOSE PRESENTATION

viii

SUBMISSION GUIDELINES

INGO PORADA

OR NARRATIVE IS ADAPTED TO A LIMITATION OF SENSORY CAPACITY

OR / AND CULTURAL PURVIEW , WHETHER THIS ADAPTATION IS PRAGMATICALLY DEVISED

OR HAS EVOLVED IN THE DYNAMICS

AND HISTORY OF USE

AND IS THUS , FOR EXAMPLE , RESPECTIVELY ,

EITHER ix

SUBMISSION GUIDELINES

INGO PORADA

INCLUSIVE , IN THAT , I . E ., IT PREPARES THE TEXT FOR

EITHER TACTILE READING

OR TECHNOLOGICALLY - ASSISTED , AURAL APPREHENSION

OR BOTH

OR EXCLUSIVE , IN THAT , I . E ., IT HERMENEUTICALLY ENCRYPTS THE SUBSTANCE OF THE TEXT

OR BOTH ,

SUBMISSION GUIDELINES

INGO PORADA

WHERE THIS ADAPTATION IS RENDERED CONJOINTLY WITH THE ORIGINAL IN A COHERENT FORMAT ,

AND WHICH } RECORD IN POETIC FORM , OF THOSE CULTURES THAT HAVE BROUGHT THEM FORTH , THEIR PROFOUNDEST MOMENTS OF COLLECTIVE MORAL EXPERIENCE , INCLUDING THEIR HISTORICAL HIGH POINTS

AND THEIR HISTORICAL LOW POINTS ,

AND WHEREIN ALSO THE SUBJECTIVE CULTURAL EXPERIENCE OF THE RELATION OF HUMANS VIS - À - VIS NATURE

AND xi

SUBMISSION GUIDELINES

INGO PORADA

THE BUILT HABITAT ,

AND OF THE INDIVIDUAL VIS - À - VIS THE FAMILY , SOCIETY

AND THE POLITICAL AUTHORITY , AS IT WERE ,

NOT ONLY FINDS SIGNIFICANT

AND CHARACTERISTIC EXPRESSION ,

BUT FINDS EXPRESSION AS IT IS MEDIATED THROUGH

xii

SUBMISSION GUIDELINES

INGO PORADA

THE INDIGENOUS MYTHOLOGY , THE GEO - POLITICAL WORLDVIEW , THE HISTORICAL EXPERIENCE

OR / AND THE SPIRITUAL - RELIGIOUS PERSPECTIVE ( S ) OF THE CULTURE IN WHICH THEIR INSPIRATION HAS ITS SOURCE ,

OR / AND WHICH ALSO TRANSPOSE THE HUMAN EXPERIENCE THAT THEY DEPICT INTO DIFFERENT CULTURAL

GEO - POLITICAL ,

EXPERIENTIAL , MORAL

PARA - MORAL ,

HISTORICAL

OR / AND SPIRITUAL

RELIGIOUS

xiii

SUBMISSION GUIDELINES

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CONTEXTS

( FOR

EXAMPLE , WORKS WHICH ARE [ RE -] PUBLISHED IN THEIR ORIGINAL LANGUAGE OUTSIDE THEIR AUTHOR ’ S COUNTRY

OR PERIOD ,

ET C .,

AND ARE IN THOSE EDITIONS PROVIDED WITH CONTEXTUALISING EDITORIAL MATTER

[ FOR

EXAMPLE ,

FOREWORDS , CRITICAL APPRAISALS , EPILOGUES ,

EXCURSI ,

xiv

SUBMISSION GUIDELINES

INGO PORADA

ET C .], FOR RECEPTION

EITHER WITHIN THE CULTURAL DIASPORA IN WHICH THEY HAVE THUS COME TO BE [ RE -] PUBLISHED

OR ANYWHERE ,

OR IN ANOTHER PERIOD

OR IN ANY PERIOD ,

OR BOTH ,

OR WHICH ARE PUBLISHED WITHIN

SUBMISSION GUIDELINES

INGO PORADA

THE CULTURAL DIASPORA TO WHICH THEY ARE INDIGENOUS

OR / AND THE PERIOD THAT HAS BROUGHT THEM FORTH ,

BUT ARE IN THOSE EDITIONS PREPARED , WITH APPROPRIATE ‘ UNIVERSALISING ’ EDITORIAL MATTER

[ I . E ., FOREWORDS , CRITICAL APPRAISALS , EPILOGUES ,

EXCURSI , ET C .], FOR RECEPTION

EITHER xvi

SUBMISSION GUIDELINES

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ELSEWHERE

OR ANYWHERE ,

OR IN A LATER PERIOD

OR IN ANY PERIOD ,

OR BOTH ,

OR WHICH ARE PUBLISHED IN VERNACULARS THAT ARE FOREIGN TO

OR MINOR IN , AS IT WERE , ON THE ONE HAND ,

xvii

SUBMISSION GUIDELINES

INGO PORADA

THEIR SETTING

OR / AND, ON THE OTHER HAND , THE LOCALE OF THEIR AUTHOR ’ S ACTIVITY ,

[ FOR

EXAMPLE ,

‘ TRAVELLER /

VISITOR POETRY ,’

IMMIGRANT POETRY ,

OR REFUGEE POETRY ]),

OR / AND WHOSE LITERARY - ARTISTIC IDEA

OR / AND SUBJECT MATTER IS

EITHER xviii

SUBMISSION GUIDELINES

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CREATIVELY UNIVERSALISED

OR / AND ‘ METAPHORISED ,’

OR CREATIVELY PARTICULARISED

( I . E .,

ADAPTED SO AS

TO USE THE IMAGES , THEMES , EVENTS

AND OTHER FEATURES OF A GIVEN , SPECIFIC SITUATION

AND SETTING

AND xix

SUBMISSION GUIDELINES

INGO PORADA

TO ENHANCE THE APPARENT IMPORT OF THOSE CIRCUMSTANCES WITH THE SYMBOLISM OF THE FORM ),

OR / AND WHICH ARE ADAPTED , ‘ FROM ONE PARTICULARITY TO ANOTHER PARTICULARITY ,’ TO THE PREFERENCES

OR / AND SENTIMENTS

OR / AND THE ABILITY OF COMPREHENSION OF A SPECIFIC , INTENDED READERSHIP

( FOR

EXAMPLE , WORKS WHICH WERE WRITTEN FOR ADULTS , AS

ADAPTED FOR MINORS ,

OR / AND xx

SUBMISSION GUIDELINES

INGO PORADA

WORKS WHICH ARE ADAPTED FOR RECEPTION BY NON - NATIVE SPEAKERS OF THE LANGUAGE IN WHICH THEY WERE ORIGINALLY WRITTEN ,

ET C .),

OR / AND WHICH ARE ADAPTED FROM A DIFFERENT MEDIUM ,

OR / AND WHICH

EITHER ARE INSPIRED BY OTHER WORKS OF ART IN THE SAME GENRE

OR IN ANOTHER GENRE ,

OR HAVE INSPIRED OTHER WORKS OF ART IN THE SAME GENRE

OR xxi

SUBMISSION GUIDELINES

INGO PORADA

IN ANOTHER GENRE ,

OR DO BY THEMSELVES TRANSCEND THEIR GENRE ,

OR WHOSE CONTENT IS GIVEN ENHANCED IMPACT BY RENDERING IN CALLIGRAPHIC FORM

OR / AND FACSIMILE IMAGES OF THE AUTHOR ’ S ORIGINAL WORK ,

OR / AND ILLUSTRATIONS ,

OR / AND SIGNIFICANT FEATURES OF THE BINDING , THE PAPER ,

xxii

SUBMISSION GUIDELINES

INGO PORADA

THE PRINTING

OR / AND OTHER DETAILS OF ITS PRESENTATION ,

OR / AND THE HISTORY OF ITS PUBLICATION

OR / AND ITS RECEPTION

OR / AND CIRCUMSTANCES IN THE PERSONS OF THE PUBLISHER , THE EDITOR ( S )

OR / AND THE AUTHOR ( S )

OR / AND REDUCED IMPACT BY

xxiii

SUBMISSION GUIDELINES

INGO PORADA

BEING ADULTERATED WITH A SUPPLEMENTARY

( FOR

EXAMPLE , PROMOTIONAL , DIDACTIC

OR PROSELYTIC ) PURPOSE ,

OR / AND POSSESSING A CONSPICUOUS

‘ MORAL - AESTHETIC

GAP ’

EITHER BETWEEN , ON THE ONE HAND , THE MEDIUM

OR / AND THE CONTENT ,

xxiv

SUBMISSION GUIDELINES

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AND, ON THE OTHER HAND , THE PURPOSE ,

OR BETWEEN , ON THE ONE HAND , THE MEDIUM

AND ON THE OTHER HAND , THE CONTENT , WHETHER THIS MORAL - AESTHETIC GAP IS

EITHER UNINTENTIONAL

OR CONSCIOUSLY

AND CREATIVELY

xxv

SUBMISSION GUIDELINES

INGO PORADA

ACCOMPLISHED ,

OR / AND WHICH OVERCOME AN ACTUAL

OR A HYPOTHETICAL MORAL - AESTHETIC GAP , WHETHER IT EXISTS ABSOLUTELY

OR IN A CULTURALLY CONDITIONED PERCEPTION , BY CREATIVELY ATTUNING TO ONE ANOTHER

EITHER ON THE ONE HAND , THE MEDIUM

OR / AND THE CONTENT ,

AND, xxvi

SUBMISSION GUIDELINES

INGO PORADA

ON THE OTHER HAND , THE PURPOSE ,

OR ON THE ONE HAND , THE MEDIUM

AND ON THE OTHER HAND , THE CONTENT ,

OR / AND WHICH

EITHER PROBE THE SEMIOTIC CONVENTIONS

OR EXTEND THE SEMIOTIC POSSIBILITIES OF WRITING

AND xxvii

SUBMISSION GUIDELINES

INGO PORADA

ILLUSTRATION ,

OR BOTH ,

OR / AND WHICH CREATIVELY VARY

OR / AND OPTIMISE THE DYNAMIC OF WRITING

AND ILLUSTRATION

EITHER VIS - À - VIS ONE ANOTHER ,

OR VIS - À - VIS THEIR MEDIUM ,

xxviii

SUBMISSION GUIDELINES

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OR BOTH ,

AND CREATIVELY VARY

OR / AND OPTIMISE THE DYNAMIC OF WRITING

AND ILLUSTRATION

VIS - À - VIS THEIR MEDIUM , IN THAT EVENTUALITY ,

EITHER IN THEIR COMBINATION

OR EACH BY ITSELF ,

xxix

SUBMISSION GUIDELINES

INGO PORADA

OR / AND WHICH VARY THE TRADITIONAL

OR / AND THE FAMILIAR ONTOLOGY OF THE LITERARY WORK , SUBJECTIVELY

OR IN FACT , BY CREATIVE

AND EXPERIMENTAL PROBING OF ITS SUBSTANCE

OR / AND ITS ACTUALISATION .

xxx

THIS IS A DISPLAY COPY OF

‘SUBMISSION GUIDELINES.’ THE WORK IS PRESENTED TO YOU WITH THE COMPLIMENTS OF THE ARTIST, WHO REQUESTS TO BE SENT, TO THE ADDRESS WHICH IS STATED THEREIN, AN IMAGE OF ITS ACTUALISATION.

THIS IS A DISPLAY COPY OF

‘SUBMISSION GUIDELINES.’ THE WORK IS PRESENTED TO YOU WITH THE COMPLIMENTS OF THE ARTIST, WHO REQUESTS TO BE SENT, TO THE ADDRESS WHICH IS STATED THEREIN, AN IMAGE OF ITS ACTUALISATION.

THIS IS A DISPLAY COPY OF

‘SUBMISSION GUIDELINES.’ THE WORK IS PRESENTED TO YOU WITH THE COMPLIMENTS OF THE ARTIST, WHO REQUESTS TO BE SENT, TO THE ADDRESS WHICH IS STATED THEREIN, AN IMAGE OF ITS ACTUALISATION.