Up the Staircase Quarterly #38 is a special issue collecting audio and visual poetry. It includes my video poem “Fake History,” along with a note about the inspiration and making of the piece. You can check it out here.
Otoliths #46, the southern autumn issue, is finally live on the web. A massive collection of visual, textual and video works, the issue includes my text poem “Hashing the Input” along with a link to the “Succubus Highway” video poem, and six stills from that video piece. The stills and video incorporate a section of the text piece: “lies like flames dance across time.” You can check out the whole package here.
Early this morning, three of my poems went live on Midnight Lane Boutique: “Margin Flowers,” “Eat this History,” and “Tame Me Baudelaire.” You can read them here. As a bonus, a link to my music video “Fire Dance” is included.
Midnight Lane Boutique features outlaw poetry with a dark tone, with great visual design. Well worth exploring.
In yet another blatant attempt to generate sales for my book Cthulhu Limericks, I created this promotional video, now live on the Bionic Eyes YouTube channel. You can check out the book in eBook and old school paperback formats through Amazon, Lulu, and other retailers.
The video has a rudimentary “plot” in which a reader picks up the book, and while reading a sample limerick is transported to a glitched out, eldritch world where Cthulhu darts forward to capture his prey!
Last week I posted a new video to the Bionic Eyes YouTube channel. This one is a music video for the title track from the Tone Ghosting cassette Private Jet Experience on Coffeehead Duck tapes. You can check out the label (and purchase copies) here:
In this video, nymphs and chimera romp across a candy-colored cyberscape as shattered neon waves crumble around them. Plenty of hyperdelic glitch washouts and damaged montages clutter the screen. Everything melts down into a plastic surface where the biological destiny of the body is denied, and the prurient gaze is subverted into an alternate plane of confusion. This is the longest video I’ve posted so far, so hopefully the colors will carry you to the rhythm, and the rhythm will carry you to the end.
Just catching up on some publications after a trip to the Southern California desert: Joshua Tree, Slab City, Salvation Mountain, Mount San Jacinto, the Cabazon Dinosaurs, and the Palm Springs Tonga Hut.
Over the break, three different journals included my work on May 1:
A big group of multi-media material appeared in Otoliths #45, including a textual poem, a video poem, and six stills from the video. “The Earth Remains Flat” is one of the pieces I’ve been working on lately with the theme of “Civilization’s Lost.” I used a section of the text as an overlay in a video poem of the same name, and then pulled stills from the video. Some of the images dig into asemic territory. You can view it all here.
“The Haunting” appeared in Black Poppy Review. You can read it here.
“One for the Road” appeared in In Between Hangovers. You can read it here.
This one is something of a science fiction story about a UFO invasion during which aliens reprogrammed our two dimensional reality to create a cybertopia based on disinformation. The sphere of control includes mental processing, advertising, reconfiguration of physical space, and the deletion of individual consciousness.
Flashes of awareness interrupt the flow of kaleidoscopic patterns, glitch erasures, and a thick haze of throbbing video distortion. Humans conduct themselves as normal, despite being embedded in an artificial environment.
Video text: “emit damage/and what remains/to defeat real truth”
Experimenting with glitch video is one of my current passions. I finally established a YouTube channel called Bionic Eyes to publish some of my video work. A sample video, “Negative Mermaid,” is up now. The images were created using VHS footage run through a BPMC Touch Deluxe circuit bent device. I’ve created several video poems using the Touch Deluxe along with a Kaos Pad Entrancer, which will be released as soon as I add some music to them. The same set up was used to create film stills used as self-portaits posted on this blog. I used a Tachyons+ Optiglitch circuit bent video effects unit to create the cover for my poetry collection, Savage Magic: