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Greetings. This is rivulet, a new experimental literary & arts journal. Welcome to issue 1.

This project exists as a continuation of killing fields journal, which was founded with the aim of exploring, honoring, and ultimately moving toward the restoration of spaces of violence through interdisciplinary methods. "Fields," to us, meant a landscape in which various organisms (minds, art pieces, languages) cohabitate in rhizomatic process; "killing" dealt with the creative act, lifecycle, and generative processes that occur after death. We found that the phrase, when applied to a creative methodology, suggested an open approach: a non-linear means of encountering art, from multiple vantage points and through various states of awareness. 

At a certain point, however, it became burdensome to continue to iterate what “killing fields,” with all the history behind that phrase, does not — or perhaps does not need to — signify. We have been, from the beginning, looking for work that recognizes intertwining histories, which demands pause and reevaluation of the cloud of violence that all inhabit and enact on a daily level, in movements and language. We live in a world overabundant with violence which self-perpetuates for its own sake — we seek a subversion of this fact, not merely a dwelling inside it. 

killing fields now exists in suspension, as an archive. A rivulet cuts through the field. 

Now, as we are brought deeper into the throes of paranoid reality-TV fascism, we, rivulet editors, want to make explicit our goals: 

  • to foster dialogue in which the interstitial spaces between artworks and artists speak and are granted room to develop
  • to resist oppression in all forms and actively combat the atrophying of language
  • to foreground voices of the dispossessed, with an eye to unspoken/undershared histories
  • to publish work that pays deference to its ontology and somatic expression, or is still somehow in progress/process

 

We're interested in exploring the journal as organic form, which evolves and changes over time. Issue 1, "in translation," deals in the space between thoughts, expression, media, language(s); it is itself in process, and will grow as its pieces relate to and refract off one another. We have work that exists between painting and verse, verse and photographed ghosts, a fragment translated from an essentially made-up language and a poem translated via google robot, a prose poem performance over an impromptu and unseen droning choir. 

If the work here resonates with you,       submit

 

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