Abstract Magazine International | Preschool in the Twenty-Second Century
Abstract seeks fine art in all forms that engages with both the crises and joys of our shared human condition. We seek art that engages the edge of now; we seek to explore a future forward zeitgeist with a respect for the gifts of the past. We are looking for both established and emerging artists across a broad range of genres. Our criterion is quality.
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Preschool in the Twenty-Second Century

09 Jul 2018, Posted by admin in Poetry
Art: Un grand e’cran, rue du Chemin Vert, Paris 11 by Bore’ Ivanoff

PRESCHOOL IN THE TWENTY-SECOND CENTURY

How we’ve come to clutch
Samantha’s digitized mind
calibrating through quantitative sweeps
the CEO-ready of childhood development.

Back in the last castration outbreak,
they enhanced her love output
by inserting a neurological rose

capable of soothing
Class One Play Conflicts
before orchestrating
a pattern recognition lesson plan.

Her machine-sculpted frame
bends down to Paul’s autistic sightline:
the programming code plucks

Samantha’s verbal automation
from a forest of positive reinforcement
over black and blue paint.

When Paul closes his eyes,
he might just believe
that a woman of human birth
speaks where education is funneled
into his gelatinous sponge.

As his pupils welcome
the classroom light, the hominid skin
before him stretches like a tape worm
over her metal heart.


About the author:
Keith Mark Gaboury earned a M.F.A. in creative writing from Emerson College. His poems have appeared in such publications as Eclectica Magazine, Five 2 One Magazine, and New Millennium Writings. After spending his days as a preschool teacher, Keith spends his nights writing poetry in San Francisco, California.

Art:  Un grand e’cran, rue du Chemin Vert, Paris 11 by Bore’ Ivanoff
In the artist’s words:
Boré IvanoffArtist Painter, Paris, France. Eastern Europe-born artist painter, based in Paris since 2001, passionate of city-scape paintings, and especially of Parisian views, “jamais vus” motives are his special feature, blurring the line between abstraction and realism. 
For Bore Paris it’s the kind of place that offers the right combination of inspiration and pain and suffering and success to keep him stimulated and painting. 
Bore wants to experiment how far he can push reality to the other side where the “real” is still recognizable, but becoming totally abstract, building that tension until they are just one and the same.

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