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A free poetry reading at the Rich Mix Centre:
Icelandic and British poetry in collaboration
Iain Sinclair & Ragnhildur Jóhanns
Eiríkur Örn Norðdahl & Stewart Home
Scott Thurston & Bryndís Björgvinsdóttir
Jón Örn Loðmfjörð & Tom Jenks
“A truly unique evening of poetry will see the culmination of a rare and powerful collaboration between four of the most exciting new poetic talents emerging from the nation of Iceland and four of the UK’s most lauded and iconoclastic writers. The event will present some of the most intricate and daring sound / sculptural / visual and free verse poetry in Europe, the fruit of a project instigated by the 3am magazine Maintenant interview series.”
Following the conclusion of The Pigeon Wing‘s WRITING/EXHIBITION/PUBLICATION this weekend, Sarah Jury and Ruth Beale invite the artists involved to [space] for a live broadcast of new writing and discussion.
Matt Lewis, Emma Leach, Tamarin Norwood, Bella Szyszkowska, Julia Calver, Nicole Bachmann, Jill Magi, Helen Kaplinsky, Hammam Aldouri, David Berridge, Hyun Jin Cho, Rachel Lois Clapham and Emma Leach.
An abridged version of my play What The Matter Is will be broadcast today at 4:30pm.
“My hole punch is black. It’s just normal. It’s made of black metal, and the underneath is black rubber so you peel it off when you want to get the holes out. At the moment it’s too full of holes to push the top bit down so it can’t actually work. I rarely change the holes because they get everywhere and they aren’t really meant to be all that good on their own, the point of them is to breed and start a community that’s meant to establish itself among your plants.“
What The Matter Is is a 60-minute play of experimental fiction, originally broadcast on Resonance in full on 10 March 2009. Today’s 15-minute abridged version has been produced for the penultimate installment of the weekly antepress art writing series Digestives.
Resonance Radio 104.4fm: tune in or click ‘LISTEN NOW’ online at www.resonancefm.com
I propose we each carry a purse containing threads with small clips fastened at each end. One end of each thread would be attached to the inside of the purse, and the other would be clipped in passing to objects and people we expect might be relevant later on. Over time we would each amass tens of thousands of these clipped threads, both issuing from our purses and clipped to our person and personal effects by others.
Provided the threads are sufficiently long and robust and numerous, instead of speaking we could physically tug at the things we wish to denote and finally abandon language once and for all.
Admittedly communication would proceed painstakingly. Read the rest of this entry »
While you write, imagine a piece of writing as a sound:
a sound made by some kind of piano. The point of the piano isn’t the piano itself, but the sound it can make. Nevertheless, the shape of the piano is determined by the shape of the sound it makes, and the shape of the sound is determined by the shape of the piano that makes it. The shape of the piano causes the shape of the sound, and the shape of the sound causes the shape of the piano.
While you write, imagine a piece of writing as a sound, and imagine that the sound comes first, and the piano follows. The sound calls for every moment of the production of the piano.
While you write, imagine a piece of writing as a piano.
A piano makes some kind of sound. The point of a piano isn’t the piano itself, but the sound it can make. Nevertheless, the shape of the piano is determined by the shape of the sound it makes, and the shape of the sound is determined by the shape of the piano that makes it. The shape of the sound causes the shape of the piano, and the shape of the piano causes the shape of the sound.
While you write, imagine a piece of writing as a piano, and imagine that the piano comes first, and the sound follows. Every moment of the production of the piano calls for the sound.
Just uploaded here is an audio recording from The Known Unknowns, a cycle of readings curated by Francesco Pedraglio in November 2009. The event was part of the Volatile Dispersal Festival of Art Writing at the Whitechapel Gallery.
In John Smith’s Girl Chewing Gum (1976) a set of stage directions works as a pivot for the representation of the actions of the people, vehicles and camera operator in the film. It’s a straightforward conceit: the actions were filmed first and the descriptions were added afterwards, but because they’re announced as directions the words appear to precede and cause the actions. Read the rest of this entry »
I was the Copyist again at The Sirens’ Stage yesterday. The rules of engagement for the Copyist include no invention, no interpretation, no metaphor, so that the writing sticks as closely as possible to what’s going on in the room. But of course there can be no objective writing: it’s never without invention or interpretation, and in the transliteration of action to text every word is a metaphor.
There’s a curious balancing of authority going on: I’m the one writing, but I can only write from what’s there, and for the most part what’s there are the people. People speak and then come over to see if I’ve written it down. Who’s making the text? It falls among us somewhere between competition and symbiosis. Read the rest of this entry »