Autobio Re:Graphy

AUTOBIO RE:GRAPHY

Michael Peters is the author of the sound-imaging poem Vaast Bin (Calamari Press, 2007) and other assorted language art and sound works. As certain as he is uncertain of access to “the real,” he frequently tests and probes that periphery.

Manifestations of his writing have appeared in print and online journals like SleepingFishBright Pink Mosquito, Word for/Word, Barzakh, GAFF, PolisPEEP/SHOW, BathHouse Hypermedia JournalHyperrhiz: New Media Culturesunarmed, HAARP (w/the Berkeley Museum of Art & Pacific Film Archive), RhinoSpinning Jenny, Sous RatureTool A MagazineLost and Found TimesAmerican WeddingsMad Hatters’ Review, LUNGFULL!, and Poets for Living Waters, to name a few.

Visual-poetic manifestations can be found in various avant-garde libraries and special collections, such as the Sackner Archive. His work has appeared in various art galleries and visual poetry anthologies such as Vispoeologee (Minnesota Center for Book Arts Winter Book, 2007), Anthology Spidertangle (Xexoxial Editions, 2009), and The Last Vispo Anthology: Visual Poetry 1998 – 2008 (Fantagraphics Books, 2012). In 2009, his “Graphy for the Ensemble” was included in the first run of The Paper Kite Press Visual Poetry Poster Series, and in 2014, Peters contributed a vaast bin fluxbox for the Fluxbox exhibition at the School of the Art Institute in Chicago.

Having cut his teeth in the musical group Poem Rocket, Peters continues to explore sound-imaging in solo performances, improvisational collaborations, and installations. With Poem Rocket, recorded sounds appear on labels such as the Chicago avant jazz and rock label—Atavistic—as well as on renowned underground labels from the 1990s like PCP Entertainment and Magic Eye. Peters is also an original member of the Be Blank Consort (BBC) with recordings on Luna Bisonte Prods. Sound collaborations are not limited to the Be Blank Consort. They include Al Margolis (If, Bwana), Area C (Erik Carlson), and improv legend Jack Wright, among others.

Michael Peters speaks Yeti.

—Maria Damon

Michael Peters has read, lectured, and performed at events in a wide array of venues, including The &Now Festival of Experimental Literature (2006 and 2009), The Bowery Poetry Club with the BBC (2006) and again with Area C (2007), SubTropics Experimental Music Festival (2005), Issue Project Room (2008) with Al Margolis, The Roanoke Marginal Arts Festival (2009), The Subterranean Poetry Festival (2010), The Avant Writing Symposium in Columbus, Ohio (2002 and 2010), and the Museum of Contemporary Art in Chicago for a Fluxfest Chicago event with the BBC (2011). In addition to a Vaast Bin reading at The &Now Festival in the Fall of 2009, Peters also created a vaast bin sound-imaging installation—and did not fail to install himself.

Peters’ Vaast Bin (Calamari, 2007) exceeds traditional ideas of “the book” or “poetry.” It is a sound-imaging work, but is only part of a greater Vaast Bin Project, which features combinatory elements co-existing in a spectrum of new and old media—often with environmental applications. Some elements are more visual based, some more sound based, some more conventionally text-based, and others more un-conventional.  These various works can be published and performed separately or in any sort of combination as needed, to create an ongoing durational work that is both a project and a projection for potential installment, activation, and application.

Unfortunately, many who write in the more usual ways feel that “otherwise” works are attacks upon them and their own works.  Those who strongly favor the co-existence of both usual and “otherwise” works get it from both sides.

—Jackson Mac Low

As publisher of innovative language arts, Michael Peters has served as editor of The Little Magazine, as contributing editor to Jim Leftwich’s journal Xtant, as a contributing editor to issue 16 of Word for/Word, and organized a large yearlong exhibit of contemporary and historical visual poetry and musical scores at the University at Albany as part of The Petr Kotik Residency, which he too, helped organize.

Peters has also published scholarly and critical essays, including “Charles Olson and Gravitational Waves,” which appeared in an anthology on Olson’s Prose (Cambridge Scholars) and an essay for Drunken Boat on composition and performance in the context of his Vaast Bin Projectas well as several entries for Kostelanetz’s Dictionary of the Avant-Gardes (Routledge). His scholarship includes a transcription of Sun Ra’s 1971 lecture at UC Berkeley, which was published in Nathaniel Mackey’s Hambone 19 (2009).

Additionally, he has received three crucial residencies for creative and scholarly purposes: The Atlantic Center for the Arts (2001), where he was introduced to the work of John M. Bennett, Scott Helmes, and K. S. Ernst; the Edmund Niles Huyck Preserve, for dissertation research on ecology and echolocation (2010-2012); and the Gloucester Writers Center, for work on a nascent poetry manuscript The Experimental Earth Research Station poems (2013).  Peters received The 2013 Phyllis Hurd Liston Prize, sponsored by the Academy of American Poets, for work initiated at the Gloucester Writers Center.

In August of 2014, Peters received a PhD from the University at Albany. In addition to completing at least three new manuscripts of poetry and visual poetry as well as exploring the conceptualization and fruitions of “real fiction,” Peters is currently working on a book about sound environment programming in the post-1945 moment—covering the work of poets and musicians like Charles Olson, Sun Ra, John Cage, and “the way back in”—as well as a monograph on the poet Charles Olson.