ECO-POETICS STATEMENT, BIG FEATHER’D VERSION:
Eco-poetics belies the current necessity of art that might do something more than just seem eco, but un-seam that weird, delicate relation between “the real” and “the un-real.” The pastoral, unless it is everywhere, is out of the question. I’m as certain as I am uncertain of access to “the real,” and so I frequently test that periphery with porous, delicate descriptions that oftentimes become wholly artificial commands, gently or emphatically demanding some sort of complicity and participation—however “un-real” the outcome might really appear. Thus, I seek the un-real (in the sense of what-has-yet-to-happen) with the ethical interest of engendering some sort of positive, æffective ecological feedback loops in the “human”-environment relation. I attempt to drop science, and make art work. I think Andrew Dudley is the kind of poet I would like to be.
Michael Peters is the author of the sound-imaging “poem” Vaast Bin (Calamari Press) and other assorted language art and sound works. Text and digital-based work has appeared in journals like Drunken Boat, PEEP/SHOW, Bright Pink Mosquito, unarmed, Barzakh, SleepingFish, Word for/Word, BathHouse Hypermedia Journal, and Hyperrhiz: New Media Cultures, among others. Visual-poetic manifestations are in avant-garde libraries, special collections, and have appeared in galleries, journals, and anthologies—The Last Vispo Anthology: 1998 – 2008 is the latest. Many of these compositions can also be performed in either conventional—or otherwise radical ways. Peters cut his sound-imaging teeth in the rock group Poem Rocket, and continues to explore sound-imaging in solo performances, installations, and in improvisational collaborations. He is currently working on a book about sound environment programming—a close study of the work of Charles Olson, John Cage, Sun Ra, and Jackson Mac Low in the post-1945 moment. http://www.michael-peters.com/