VAAST BIN PROJECT
Vaast Bin; n Ephemerisi (Calamari, 2007) exceeds traditional ideas of “the book” or “poetry.” It is a sound-imaging work, which is only part of a greater on-going Vaast Bin Project featuring 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.
To be in the Vaast Bin is to be in the prime complex of a navigation system scored for those who wish to move—in to it and beyond. It brings together divisions: The separations of sound and image (whether kinetic or static) via intervals of quantity and the nothing about it—the nothing that defines it. With shared divisibility, magical differences unique to each bin are either grafted or undone by circuits, serif connectors, probes, radio static, loops of noise, & loops of kinetic imagery fabricating the spiraling helix that defines the genetic autobio re:graphy—because the very bio can be æffected, can be programmed.
3.) The following link features a kinetic soundscape 2012 film documenting a 2009 Vaast Bin Sound-Imaging Installation created for The &Now Festival of Experimental Literature, which was based on the 2007 book. It also includes access to an essay (a PDF) on composition and performance in the context of The Vaast Bin Project, which is based on the 2012 film, the 2009 installation, and the 2007 book:
The genre-crossing nature of multimedia provides a fruitful space for exploring the ways in which media both supplement and reconfigure literature and scholarship – in the form of interplays between fiction, art, criticism, digital image, video and print text. Michael Peters’ “Mooring the Vaast Bin” presents a corpus of material that adds through video, audio, text and illustration a “mooring” for an absent work (Vaast Bin, a print text). Peters’ work suggests that a central text is always accompanied by addenda, reimaginings, and visual/aural “accompaniments.” In her review of Flanagan and Booth’s edited collection re:skin, Jeanne Hamming notes the close and varied “fleshy crossings” the book has produced between fiction, nonfiction and art in the quest for a “techno-sexuality.” These crossings, she argues, “[depart] from the convention in scholarly publications of segregating primary material from criticism.”
—Helen Burgess, Editor Hyperrhiz issue 04