call for submissions

Announcing: Call for submissions

The International Ten Itty Bitty Pieces of Sh*tty Arts Show
Deadline for submission: Saturday, November 24, 2007
Opening Celebration, Juried Selection, and Beer Tasting Competition: November 24, 2007.
Playthink Studio, Front Street Gallery, Dayton, Ohio, USA

Accepting work from
Visual Artists

Musicians and songwriters
Architects and designers
Writers and spoken word artists
Corporate tax accountants
Performance artists
Actors and playwrights

The mandate of the Ten Itty Bittty pieces of Sh*tty Art Show is to promote artists, emerging and established, whose procrastination, perfectionism, and giant egos disguised as lack-of-confidence (and vice versa) serve to inhibit them from attempting/and or completing creative work.

All work must be created during the months of October and November 2007. Participants may not cheat by hunting up old itty bitty pieces of sh*tty artwork.

Submissions should include: an artist statement, a project description, a current CV, 10 – 20 slides, filmstrip, and two VHS and Betamax tapes, and a self-addressed stamped envelope. Unless you think that’s too much work. In that case, simply mail your work to Shag Shagdoravitchski, 4098 Wagner Road, Dayton, OH 45440, USA, arrange ahead for drop off times. Or show up on the day of the event with your with your ten itty bitty sh*tty pieces of art tucked under your arm.

Theory: Many artists, would-be artists and other creative people and find themselves stuck. Many intend to produce work, but find themselves held back because they believe their work is sh*tty. Most of these artists are right. Their work really is sh*tty. The Itty Bitty Sh*tty Arts Show celebrates the work of artists producing pooh.

My work requires performance. What’s the time limit? Performers, musicians, readers, and other presenters are limited to ten minutes. Performers are encouraged to present only the sh*ttiest of their work.
I’m planning to write a novel this November. Do you expect me to finish ten pieces of sh*tty art, too? Yes. And you are invited to read a chapter from your sh*tty book at the opening celebration as well.
Why ten pieces? Ten pieces is a lot to get done by November. This insures that your work will be sh*tty.
If I submit work to the itty bitty sh*tty arts show, does that make me an itty bitty sh*tty artist?
Artists often confuse their work with their identity. F##k that sh*t, and just make something.
Do I have to submit ten pieces? Yes.
Must I be present at the Ten Itty Bitty Pieces of Shitty Art Show to participate? No. Just send it in. All participants will receive documentation of participation.
What are the format restrictions? The Ten Itty Bitty Pieces of Sh*tty Art Show accepts all formats. It doesn’t have to be itty or bitty, just sh*tty.
Can I sell my work? Any artist may attempt to sell sh*tty work if his price is low enough. Artists are encouraged, though not required, to sell. We recommend $1 or Play money to be paid directly to the artist. Neither Playthink Studio or Shag Shadorovitscki will take a percentage of your sales.
Is this a juried exhibition? Yes. The jurors are select members of the snooty petootie arts community famous for the creation of works even sh*ttier than your own.
What’s the prize? All entrants will receive certificates and documentation of participation. Last, second last, third from last place will be offered to the sh*ttiest pieces in each category.
What if it turns out that my work isn’t sh*tty at all? What if in the process of attempting to create a sh*tty piece of work, I create something brilliant, spectacular, awe-inspiring, and earth-shattering? Won’t that make everybody else feel bad about their work that really is sh*tty? Yes. In fact that often happens with shows like this. Just feel guilty about it, and everything will be all right.

Curated by Shagdora Shagdorovitsch
Sponsored by the International Institute of Slowlearning, Redesign Research, Dialogic Design International,

playing with blocks; writing with robots

Writing is easy: All you do is sit staring at a blank sheet of paper until drops of blood form on your forehead. –Gene Fowler

There is no such thing as writer’s block for writers whose standards are low enough. –William Stafford

You can’t wait for inspiration. You have to go after it with a club. –Jack London

Are you feeling like no matter how hard you try, no matter how low you set your standards, no matter how many clubs you wield, no matter how much blood you sweat, that you just can’t write? Sorry to say it, but maybe your “writing block” is just a piss-poor excuse for for not getting anything done. Now thanks to advances in neopostmodern, postneodada, ne0-oulipo technology, you can let robots write for you. Check out

language is a virus Full of enough writing games and poem generators to keep you from your writing projects for weeks. Look for William S. Burrogh’s cutups. A free cut up-machine that allows you to rewrite and rearrange your writing refrigerator magnet style. Also includes a formula to help you “transchannel the spirit of of Shakespeare.”

Charles Bernstein’s collection of writing experiments includes extensive list of prompts and ideas from Bernadette Myer AND links to poetry machines, robots, and writing generators.

Think you’re blocked by your own perfectionism rather than held back by a lack of inspiration? Consider the master’s dying words:

I have offended God and mankind because my work did not reach the quality it should have. –Leonardo da Vinci

There is no excuse, really. Get to work.

fresh hope for slow learning, 1926

A fresh hope is astir. From many quarters comes the call to a new kind of education with its initial assumption affirming that education is life – not merely preparation for an unknown kind of future living. Consequently all static concepts of education which relegate the learning process to the period of youth are abandoned. The whole of life is learning, therefore education can have no endings. This new venture is called adult education not because it is confined to adults but because adulthood, maturity, defines its limits…

Secondly, education conceived as a process coterminous with life revolves about non-vocational ideals. In this world of specialists every one will of necessity learn to do his work, and if education of any variety can assist in this and in the further end of helping the worker to see the meaning of his labor, it will be education of a high order. But adult education more accurately defined begins where vocational education leaves off. Its purpose is to put meaning into the whole of life.

Thirdly, the approach to adult education will be via the route of situations, not subjects. Our academic system has grown in reverse order; subjects and teachers constitute the starting-point, students are secondary. In conventional education the student is required to adjust himself to an established curriculum; in adult education the curriculum is built around the student’s needs and interests. Every adult person finds himself in specific situations with respect to his work, his recreation, his family-life, his community-life et cetera – situations which call for adjustments. Adult education begins at this point. Subject matter is brought into the situation, is put to work, when needed. Texts and teachers play a new and secondary rôle in this type of education; they must give way to the primary importance of the learner… The situation-approach to education means that the learning process is at the outset given a setting of reality. Intelligence performs its functions in relation to actualities, not abstractions.

In the fourth place, the resource of highest value in adult education is the learner’s experience. If education is life, then life is also education. Too much of learning consists of vicarious substitution of some one else’s experience and knowledge. Psychology is teaching us, however, that we learn what we do, and that therefore all genuine education will keep doing and thinking together.

Authoritative teaching, examinations which preclude original thinking, rigid pedagogical formulae – all of these have no place in adult education. ‘Friends educating each other’ says Yeaxlee, and perhaps Walt Whitman saw accurately with his fervent democratic vision what the new educational experiment implied when he wrote: ‘learn from the simple – teach the wise’. Small groups of aspiring adults who desire to keep their minds fresh and vigorous; who begin to learn by confronting pertinent situations; who dig down into the reservoirs of their experience before resorting to texts and secondary facts; who are led in the discussion by teachers who are also searchers after wisdom and not oracles: this constitutes the setting for adult education, the modern quest for life’s meaning.

E. C. Lindeman, The Meaning of Adult Education, 1926



Dexter’s scary monster

This week I faced one of my greatest fears.

I sat on the couch and stared into the silent eye of an omnipotent monster who, with its unblinking eye of cold steel and glass, stared me down to size, then sucked this newly-diminished me whole into its darkness. I’ll never be the same again.

Coach and editor, Dexter Ico, generously offered to work with me on one of my greatest fears: speaking. And my greatest speaking fear? Public speaking. My greatest public speaking fear? Speaking in front of The Camera. Dexter is an acting coach who uses his professional-grade intuitive skills to nurture actors and to take them to new levels of artistry.

Some crazy part of me thought it would be kind of fun, in dare-devilish sort of way, to explore my fear. Besides, I was so impressed with Dexter’s work that I thought, why not? What could it hurt? I have this new book to promote, and I know that I’ll have to find new ways to present my writing other than just reading sentences in my normal monotone. I thought that Dexter might be able to offer a few tips that would instantly transform me from a dull and fearful speaker into an engaging and thrilling performer. Then I’d sell lots of books and everyone would be proud.

But Dexter didn’t do that.

He just sat me in front of the camera and he asked me what inspired me.

He asked me what was most important to me.

He asked me what I stood for.

He asked me what I believe in.

He asked me to tell a story.


So I talked.


Soon I learned I was right to be afraid. Horrors really do lie waiting within The Camera’s gaze.

The Camera with It’s unforgiving silence, stripped me down to my most bland and unimpressive core and mocked me. Each word that slowly emerged from my mouth sat dull and lifeless with me on the couch. In an effort to look good, I said many empty words, told lifeless stories of dead things, none of which spoke the truth to any one, not even me. I just wanted sound as if I could make sense. So the lies came tumbling out.


If I had told the truth, I would have said that nothing is true.

I would have said that nothing is more important than anything else.

I would have said that I’m not sure what I stand for and that I’m not sure what to believe.

And then I would have made up a story without a punch line that made no sense.


Dexter says the real learning will take place on the second of our sessions. I know it doesn’t make sense for me to look forward to it.

But I am.