Contributor Bios & Liner Notes
Ansted Moss has been experimenting with the visual and sonic world since his birth on 8 July 1991. This lifelong partnership with the artistic world has resulted in a collection of structures --both visual and sonic-- that defy conventional building methods. Over the years, his visual and sound art have combined into several short films that have screened at several festivals around the world.
This is only the beginning in a creative remapping of the world.
Examples of his work can be seen at knaknox.com
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.
"Umbrella": Playing real cheeky with luck. You'd open that inside? Just to blow the dust off the painting.
Machine Libertine is newly created media poetry group. The method of our work is the exploration of the role of media in the development of literary art practices including video poetry, text generators and performance art. The main principles of the group are formulated in our Machine Poetry Manifesto pointing out the idea of liberation of the machines from the routine tasks and increasing the intensity of their use for creative and educational practices. Machine Libertine had been founded in December 2010 starting with a video poetry called Snow Queen, a piece for British Council and presented recently at Purple Blurb series at MIT and Harvard. It is a combination of masculine poetry «Poison Tree» by William Blake contrasted to mechanic female MacOS voice and cubistic video imagery of Souzfilm animation «Snow Queen» (1957). We are exploring how the text can be transformed by mechanized reading and visualizing it and what are the possible limits of this transmedia play of interpretation.
The Duende Bros. is an ad-hoc Chicagoan duo, consisting of musician Mikey Peterson & poet Eric Elshtain. They paired up in order to find the right combination of in-house studio synth-pop soundings & lyrics about everyday objects to create danceable poems. Made to sound as if produced in 1983, these two tracks complete the logic of Reagan/Bush era optimism & cynicism, making sinister what you zip & praising the all-seeing microbe-growing eye you might find one the back of a dollar, dollar bill. THE ZIPPER SONG is the result of dark-basement experiments—fingers on the brink & the dogmas of keeping it all in. SUBTERANNEAN EYE-SORE BLUES is a response to the CSI scene: there’s some hinky ideology going on when house musicks blare behind criminologists magnifying epithelial cells. But what is the TV but a microscope, too.
Eric Elshtain is a homemaker and also, through the non-profit foundation Snow City Arts, is poet-in-residence at John H. Stroger, Jr. Hospital where he conducts poetry and art workshops with patients ranging in age from six to 21. Elshtain's poetry, reviews, and interviews can be found in numerous print and on-line journals. He has a PhD from the University of Chicago's Committee on the History of Culture, and has been the editor of Jon Trowbridge's on-line Beard of Bees Press since 2001. He is also the co-creator of Gnoetry, poetry-generating software the compositions of which can be read at on the GnoetryDaily blog; there one can also read the results of experiments with many other poetry-generating machines.
Mikey Peterson is a Chicago-based singer-songwriter and video-audio artist. He records and performs as a solo musician, crafting sparse yet melodic songs with his band The Trust and as The Duende Bros has partnered with poet Eric Elshtain to develop an inimitable form of musical dance poetry.
Peterson also creates experimental video art that focuses on rhythm, sound, and organic abstraction having shown work internationally at festivals in New York, Chicago, Poland and Portugal. His work has also been exhibited on the Paris-based satellite television channel, Art Television and the New York-based website, Videoart.net
Thylias Moss is an American poet, writer, experimental filmmaker, sound artist and playwright, of African American, Indian, and European heritage, who has published a number of poetry collections, children’s books, essays, and multimedia work she calls poams, products of acts of making, related to her work in Limited Fork Theory. Among her awards are a MacArthur Fellowship, a Guggenheim Fellowship, an Artist's Fellowship from the Massachusetts Arts Council, an NEA Grant, and the Witter Bynner Award for poetry.
tENTATIVELY, a cONVENIENCE was born somewhere & will die somewhere else.
He continues to be largely (un)known under the following names:
anonymous / David A. Bannister / Luther Blissett / Monty Cantsin /
Karen Eliot / Shayn Fargesn / E.G.Head / id ntity /
Tim Ore / Party Teen on Couch #2 / RATical / Alan Smithee / SpRATacus / tANGO, aLPHA cHARLIE / tENTATIVELY, a cONVENIENCE /
1/2 of "Who is like God?s" despite an almost superhumanly energetic output.
A potentially valuable portal is here: http://idioideo.pleintekst.nl
A partial list of his text-based publications is here:
He describes himself as a:
Mad Scientist / d composer / Sound Thinker / Thought Collector / As Been /
PIN-UP (Postal Interaction Network Underground Participant) /
Headless Deadbeat of the Pup tENT Cult /
booed usician / Low Classicist / H.D.J. (Hard Disc Jockey) /
Psychopathfinder / Jack-Off-Of-All-Trades / criminally sane /
Homonymphonemiac / Practicing PromoTextual /
Air Dresser /
Sprocket Scientist / headitor & earchivist / Explicator /
Professional Resister of Character Defamation /
Proponent of Classification-Resistant What-Have-Yous /
tOGGLE nUT cASE /
Princess of Dorkness's Right Hand Man /
Human Attention-ExSpanDex Speculum /
Imp Activist /
SPLEENIUS / Cognitive Dissident
"Skeletal Remains" uses 61 samples from 11 recordings relevant to James Joyce's Finnegans Wake. The idea is that instead of providing a "Skeleton Key", as has already been done, I provide a new experimental narrative more along the lines of the "Piltdown Man" - w/o any hoaxing intentions. There is no definitive version since, as w/ most, or all, of my pieces, the structure is left deliberately open to multiple realizations. Those curious for other versions are directed to: http://youtu.be/6EicbqmLvbk.