Contributor Bios & Liner Notes
Katherine Factor is an audiophile, calendar-keeper, and occasional poet. She is the Poet-in-Residence at Idyllwild Arts Academy and assistant editor at Inter|rupture – A Journal of Poetry and Art.
"Puritan" The hotdog is an actual vehicular absurdity that oversees the grand hall at the Rock and Roll Hall of Fame in Cleveland. I visited there directly after returning from the Cyclades islands of Greece, rather enjoying the parallelism of phallic behemoths worshipped in both locations. Designers JW Nickel and Chris McGregor (of The Residents production), conspired the piece for the rock band Phish back in the 90s, employing it in multiple New Year spectacles, signaling Eliade's Eternal Return.
"Thera" Known as the island Santorini, it is a hotbed of Atlantean imagination and as Duncan does, so do I. 1967 excavations revealed distinctly Minoan frescoes in Akrotiri, preserved by volcanic ash, deserving quality remote viewing that only a poem can provide.
AB Gorham's originally from Montana, but currently lives in Tuscaloosa, AL, where she's working towards her MFA in Book Arts. Her poems are forthcoming or published in American Letters & Commentary, DIAGRAM, Cutbank, & gobbet, among others.
"Lineated^Wrapped" Empty space on a page needn't always signify silence. A tab parts the words, forcing a blank column down the center of the page; a pocket of white noise whistle tsk hiss. Here lies the interruption. The right column wraps its tale around the corner onto the next line, and so on. This poem exists in two realms: one visual, one audio. The two realms don't always crossover into one another. They aren't always of the same spirit.
Eben Mannes is a freelance professional sound designer and composer currently living in Ypsilanti, Michigan. His personal music compositions are mostly experimental ambient, mixing synthetic and natural elements. More of his work and information can be found at EbenMannes.com
"To the Bird's Nest" is an ambient piece made up of multiple layers of synth pads. One element that sticks out is the rolling or stretching sound that comes in and out of the mix. This was the main focus point in the earlier version, before the spoken word and humming were recorded. The vocals on the track are done by Lena Wilson, and taken from a poem by my brother-in-law, Jake Schepers, entitled "To the Bird's Nest Built in our Three-Season Porch."
"A Time By the Water" is composed of various evolving textures. The progression and movement is provided by slowly warping the textures over the course of the piece. The textures include synthetic instruments as well as live recorded samples of waves, trumpet (performed by Matt Bradley, who has no contact information and is living in the depths of the Keweenaw peninsula), piano, and a child speaking. The piece was originally meant to depict a surreal time spent on the edge of Lake Superior.
Phil Sawdon is an artist, writer and sometime academic. He lives and works in the UK where he is an Honorary Fellow at Loughborough University in the School of the Arts. He is a director and co-founder of TRACEY: drawing and visualization research and a co-editor of the magazine journal Stimulus Respond. He has published and exhibited in a wide variety of formats including academic, scholarly and pedagogical texts, essays, moving image, audio works, creative fictions and artworks. His main concern in all his various practices is with contemporary drawing and in particular ambiguity in contemporary fine art drawing. He uses audio as a form of sound drawing referencing both ‘sounds in drawing’ and ‘sounds like drawing’, approaching drawing as a process for approaching sound. He adapts found and sampled sounds to create readymade propositions.
His edited books include Drawing Now: between the lines of contemporary art (IB Tauris), Drawing The Purpose (Intellect Ltd) and Hyperdrawing: beyond the lines of contemporary art (IB Tauris) and he has works in numerous journals and magazines such as Nyx: a Noctournal, DM (Danse Macabre), Stimulus Respond, /seconds, soanyway and forthcoming in Versal 11. He has screened works in New York and the UK. He works with Deborah Harty as one half of the creative collaboration humhyphenhum; they have published moving image works in Animation in Process (Laurence King) and in the Journal of Artistic Research (JAR).
"The Drawing Frame" is a sound drawing fiction. It [re-]contextualizes and [re-]presents text from the author's drawing fiction The Drawing Frame.
"An Allotropic Coda" was constructed as one of numerous fragmentary visions for the project Unfolding Space: An Allotropic Dance in Three Parts for Two Players. Unfolding Space was performed as a multimedia paper in collaboration with Marsha Meskimmon for Articulations (ASCA, Amsterdam). "An Allotropic Coda" incorporates ambiguous and manipulated vocal samples.
Jared Stanley is the author of two collections of poetry, The Weeds and Book Made of Forest. He is a member of the art collective Unmanned Minerals, and a co-editor of the poetry magazine Mrs. Maybe. He is a 2012-2014 Research Fellow at the Center for Art + Environment at the Nevada Museum of Art, and lives in Reno, Nevada.
"Weeds 89" is a continuous sentence that mimics the interplay of repetition and surprise that a cyclist experiences on a long ride. The looped track beneath the speaking voice was recorded at the Sandy Mush National Wildlife Refuge – the croaking you hear is sandhill cranes, the other voices are avocets, canvasbacks, northern shovelers and many other birds. I wanted my voice to be among the chorus of other voices that comprise a soundscape, getting a bit closer, in speech, to the experience of talking in and to a place.
William Stobb is the author of five poetry collections, including two in the Penguin Poets series: Nervous Systems (National Poetry Series 2007) and Absentia (2011). "Jason Saw Sun Tunnels (Little Disintegration)" appears in a chapbook of desert fragments entitled Artifact Eleven, which is published by the Black Rock Press at the University of Nevada, Reno. Stobb lives in La Crosse, Wisconsin, where he serves as incoming chair of the Wisconsin Poet Laureate Commission and works on the editorial staff of the award winning literary magazine, Conduit, and on the English faculty of the University of Wisconsin, La Crosse.
Some of the writing lessons that I value most were taught to me by the Great Basin, where I lived for just a handful of years while pursuing a graduate degree at the University of Nevada, Reno. The poems in my chapbook of desert fragments, Artifact Eleven, represent one of my efforts to try to honor those lessons. The poems in the collection approximate an assemblage of desert materials. For me, "Jason Saw Sun Tunnels (Little Disintegration)" represents the ruins of two individual poems, each composed with its own artistic imperatives, pulled apart and then crumbled together as artifacts and evidence from multiple time frames and differing circumstances can be found together at a single archaeological site. Obviously, that analogy only goes so far, since my composition of this new poetic mix is also an aesthetic operation. Another poet might've used chance operations to create this mash-up, but I guess I didn't just want to create ruins: I wanted to create beautiful ruins, and people can make their own judgments about the success of that endeavor.