Contributor Bios & Liner Notes
David Abel is a poet, interdisciplinary artist, bookseller, editor, and teacher in Portland, Oregon. His recent books include Float, a collection of collage texts spanning twenty-five years (Chax Press); Tether, a chapbook of poems (Barebone books); Carrier, a hypergraphic visual sequence (c_L Books); and the collaborative artist’s books While You Were In and Let Us Repair (disposable books, with Leo & Anna Daedalus). With Sam Lohmann, he publishes the Airfoil chapbook series, and from 2002–12 he published twenty-four issues of the free broadside series Envelope.
He has devised more than thirty performance, film, theater, audio, and intermedia projects in the past decade, both solo and with a wide range of collaborators. A founding member of the Spare Room reading series, now in its eleventh year, he was an inaugural Research Fellow of the Center for Art + Environment of the Nevada Museum of Art, and a member of 13 Hats, a collective of visual artists and writers formed to explore innovative approaches to collaboration. In 2011 he curated the exhibition Object Poems for 23 Sandy Gallery in Portland.
"Reading Hazard" documents a “linguistic sculpture” devised by David Abel in response to Avantika Bawa’s installation At Owners Risk, on view at Suyama Space, Seattle, in June of 2012. The performance took the form of a simultaneous reading by four poets spatially distributed within the installation, and was captured by composer and sound artist Steve Peters, who in his peripatetic recording acted as a fifth performer and the agent of this particular realization.
Valerie Corrigan is an avid outdoorswoman who currently lives in Cleveland, Ohio. Her influences include hip- hop music, raw emotion and breathing.
Fiona Curran is a Lecturer in Filmmaking at Kingston University and is a poet, as well as a sonic artist & filmmaker, (other hats include Art Critic & Columnist). She holds an M.A. in Creative Writing from the University of East Anglia. As a poet she has been published widely in the UK & Ireland and her first poetry collection, The Hail Mary Pass, was published by Wreckingball Press, a second collection should appear in 2014. In a previous life, Fiona was an industry professional and sound designer with a long list of credits on film & TV Drama. As a sonic artist (moniker 21%) she has presented sonic works at the Car Boot Art Fair, Literary Kitchen and RedSonic Festival. She also works as part of the creative sonic partnership Curran & Gershon on site-specific audio/visual installations. She has recently begun to explore soundscaping through the use of film and has a particular interest in the ideas around sonic portraiture and notions of essence.
"Poetry Edit Mix Down": The Language of Flowers, Lilies, The Bridal Bouquet and Daffodils, collectively are a meditation on the mixed meanings hidden in our ideas around flowers. They were influenced by the visual work of LaChapelle, Garzoni and O’Keeffe amongst others, and by the flower as an actor in the significant moments.
gtrabbit is a poet living again in Pittsburgh, PA.
"Kimochi no asa" The irregular percussive elements on this piece were an accidental result of my computer stalling when the processor became overworked by audio effect chains. (A good way to achieve this is to turn your laptop to a low-power setting, though I didn't own one at the time, and could never recreate quite the same sound) The singing voice is Mia Doi Todd's, but the poem and the voice reading it are my own. Her's is much better than mine, and the surplus of reverb on mine is evidence of my anxiety and embarrassment about hearing the sound of my voice.
"Dongdaemun Sestina" This poem uses audio recordings from when I lived in Seoul, mostly from a single night walking around the Dongdaemun neighborhood, but it is mostly just a tribute to Lisa Robertson's voice. Besides that, there are more audio sources in here than I can remember: notably the Kefka Theme from Final Fantasy 6, Howard Finster, and a Russian dub of sleazy pornography. Maybe the theme here is internationalism and hotel culture: the landlord of my apartment in Seoul told me the rooms were designed after hotel rooms he and his brother-in-law stayed at during a trip to Spain. Nothing ever felt permanent there. This poem really doesn't resemble a sestina at all; I just think it's funny to title things that way--sorry if that's disappointing.
Julie Ezelle Patton is a New York City based poet and visual artist. She is also the founder of an eco-arts housing & land conservation project based in a rust belt city orbiting the rock star Detroit. Poet Tree Mitigation Services, Salon des Refusé, Community Service Berry Jam are some of niches mined in this galaxy. She jams with Paul Van Curen, Daniel Carter, Brad Jones, Anne Waldman, Drew Gardner, mockingbirds and cats.
Seattle composer, sound artist, and curator Steve Peters recorded and edited "Reading Hazard." A full bio and information about his recordings, installations, and other projects can be found here.
Paul Van Curen is a primarily improvising guitarist and musician living in Cleveland, Ohio. He
plays with the Doll Hares in Detroit (featuring poet James Hart lll) and SwingSet/CarHood in
Cleveland, in addition to his long standing duo project with Julie Patton. Influences include SunRa7OsMilesMagikMarkersJosephBeuysHankWilliamsThomasMertonBilldeArangoAliceColtrane
many, many more.
After 20+ years in Seattle, Nico Vassilakis has relocated to Bronx, NY. He co-edited The Last Vispo Anthology (Fantagraphics Books 2012) and has a book of visual poetry, MOMENTS NOTICE, forthcoming from Luna Bisonte Prods. Samples of Nico's work can be seen at http://staringpoetics.weebly.com/.
Afton Wilky is the author of Clarity Speaks of a Crystal Sea (forthcoming from Flim Forum Press in 2014) and her work has appeared or is forthcoming in journals such as The Black Warrior Review, BlazeVOX, Word for/Word, EOAGH, and Jacket2. She is the managing editor of The Volta.
“from Clarity Speaks of a Crystal Sea” is a reevaluation of a manuscript made up of photographic representations of textual fragments which have been edited by folding and cutting, erasure pieces which map the cutting away involved in their construction, and multi-columnar pieces in which several lines of text ask to be read simultaneously. These elements rely on peripheral vision; produce visual static. Performing the work has required more than one mouth and positioned the listener in the precarious position of choosing which voice to follow; always wanting to hear both and being able to follow only one at a time.
James Yeary lives in Portland, Oregon where he publishes c_L books, editions plane (with Charles Seluzicki), and abandoned bike (with Nate Orton). c_L is a publisher of chapbooks and postal newsletters. Editions plane is a Mimeograph Revolution-inspired publisher of limited editions. Abandoned bike publishes the psychogeographic serial/plein-aire zine my day, by Nate Orton and various collaborators. He is a member of the Spare Room reading series, and teaches alternative writing practices at the Multnomah Arts Center.