Hyperrhiz: New Media Cultures. Issue 4, Winter 2007.
http://www.calamaripress.com/vaast_bin.htm
Email: mpeters [at] poemrocket [dot] com
Vaast Bin; n Ephemerisi is a poem-book; it's a "score." It consists of three components that cannot be extracted as an initial source for the poem-book. These three components, with all of their overlappings, are: book—with static images and words; sounds—voice and in amplification, the play of sound material that begins the procedural opening in all pores with the cognizance; and kinetic images—no less a visual poetry exploring inceptions of rolling contiguities up, abeyance via the volume and amplitude. The kinetic sound and image elements that are available for viewing, here at hyperrhiz—Kinetic Soundscape for Vaast Bin and Stills from the same kinetic images of that soundscape—belie the sounds in "the poem-book" and the visual aspects, both static and kinetic, of "the poem." Within the microcosmic level of the poem-book's building, each of the three components continued to shape any combination of the other components toward its present state. These components, in various moments of collogue, shaped "it" out—to allow for an "in" of any numerable potentials. In the crevices of the performance of these sounds and their wave modulations, one can take the necessity of their energy, and in a sense, climb into the book's structure—riding the sound waves to an "in" that's decipherable as a series of dissolving skeletal or structural guidance systems that speak with the reader/listener through that opening of one in the listening of the reading. And yet, by its very structure, not only guides them, but programs them for discoveries, which is its purpose: The inkling of expanding energies, trusting in the natural processes of the procedural unfolding. One has only to follow the "adjustment instructions." A non-lysergic, mathematical programming—which is to say, an abstraction of sorts without representation that does not replace or substitute but is that which, at the same time, stimulates a sensory poetics based upon the provocation of the loose alignment between image-sounding (and its resulting simultaneities of confluence) so that it produces connections that are unique to each experience within it. Therein, it opens not only connections, but shares one's auth path.
There's too, this essential ingredient: Operators, for there is something like inspiration in the idea of an open form that one can climb into—a spaceship maybe, a body-of-some-sort, a horse, a spine, a lemma, a bin, Æolian, but stretched out, like a crazy, endless topology. As if reined in, for it's something akin to programming, yet something that de-programs—in its æffect, creating the essential component of discovery: Space. How does one visualize this; how does realize the necessity of this open structure? Behind the equations-as-headers for each numbered "bin" comes the idea of the different means in which we produce ideas/differences—the way in which we produce anything, really. It's a partial, uncertain whole and a fragment—the bins in piecemeal themselves—but these bins are not excluded from it. It's set theory, sort of, and with no apologies, for the vel of the Venn Diagrams inverted. And it is not static. Thus, the notion of prime numbers as integral components of the headers/equations/titles of each bin becomes crucial. Stemming from an attachment to prime numbers as a means of organizing this version of the Vaast Bin—since prime numbers are divisible [meaning that can be re-arranged] only by one and themselves—one can begin to comprehend a shared divisibility in the topologies of matter and energy in its modulating flux. And as code written into that shared divisibility, it creates tracts, coordinates, where one might alight, where one might make reservations. Flickering as such, one might have already landed there. Once this is apparent, a wicked garland—as in a candle wick, wick'd, as in built, as in strung-out like a past-tensor, an historical garland, a garland of forms, a garland of bins, a garland of poems, or what-have-you—can be threaded by the flames of that navigator in the wherewithal of its variability, wherein its potential is the fn. that informs.
[Enter that crazy topology, again.]
Thus, the structure is continually forming itself, opening itself: What is a "having bin" is a structure. What is a "having been" is also that opening. In short, where one was. What one hears and what one reads is the where, the where wherein the homephonic potential begins to reveal itself in the spatial moment of the emerging structure. Then, imagine a nest as the structure. Then, imagine further nests congealing and accumulating in space. And like beads, like musical notes, they can be threaded by the reader/musician thinking, moving in—but directed, at the same time, like a guidance system aimed toward discovery. In a series of dissolving limits, landscapes emerge. Terrestrial and extra-terrestrial. The bird becomes } the process of symbolized and symbol guiding one's one towards the opening of all nesting structures, and thus is with its flow, is it is with its emergence. And being a topology, a matter of matter, note the place to alight is a note. Thus, it is possible to say that I like to play it through it, to play it to its sound—I like to think to the pattern that the it of it sounds too, like music, like a poem. For example, there are invariably, likenesses within the Vaast Bin, a homeophonics: Cf. bin and been, or great and grate, for example, and their entropic inversions such as the aforenoted "wicked"—as found in the multiple meanings of any word. Not only is it etymology, but the fn. of it: The phonetics, for it plays too with the images like the beak and the "}" —the bracket of nests in programming language, to create flickering moments wherein there really is a grate—a "="—outside my window in the street that is the same storm sewer grate in Bin 37, a momentary nest in the flickering moments of perceived and created. An awl that is all real and abstract.
And this is its sequel—