Background statement of research

I graduated in Semiotics at the Department of Scienze della Comunicazione (University of Salerno). In my BA dissertation, entitled "Iconicità e Metafora Visiva" (Iconicity and Visual Metaphor), I proposed a philosophical inquiry into Charles S. Peirce's notion of Iconicity. I continued my work on Peirce throughout my my postdoctoral studies. I was awarded a PhD in Science and Technology Studies from University College London in October 2007. In my doctoral dissertation, entitled "Iconicity and Network Thinking in Picasso's Guernica: A Study of Creativity Across the Boundaries", I explored the influence of science and technology upon artistic representation with reference to Pablo Picasso's 1937 painting, Guernica. I proposed a concept of homomorphic representation to account for the conceptual nature of Guernica and interpreted Picasso's use of geometry as a cognitive vehicle to attain such a conceptual representation. I developed the concept of homomorphism from my study of Peirce's notion of Iconicity.

At present

I am a Teaching Fellow in Philosophy of Science at the Department of Science and Technology Studies. My current academic interests include the relations between art and science in the 20th century, American Pragmatism (with a special focus, of course, on the philosophy of Charles S. Peirce) and the philosophical debate on the nature of scientific representations. I am currently working on a post-doc proposal entitled "From Similarity to Homomorphism: Toward a Philosophical History of Representative Practices, 1880-1914".

Relevant publications

Ambrosio, C. (2008). "'A Composite Photograph of Images': Semiotic Iconicity in Picasso's Guernica". International Journal of the Arts in Society, vol. 3, no. 4, pp. 53-60. Abstract available at: http://ija.cgpublisher.com/product/pub.85/prod.326
Ambrosio, C. (2008). "The Art and Science of Picasso's Guernica" in: Sophia, issue 1 (June), pp. 16-20. Available electronically at http://www.sophiamagazine.co.uk
Ambrosio, C. "Iconicity as Homomorphism: the Case of Picasso's Guernica", Proceedings of the International Conference "Applying Peirce", Cambridge: Cambridge Scholar Press, currently under review.
Ambrosio, C. (in preparation) "From Similarity to Homomorphism: Toward a Pragmatic Account of Representation in Art and Science 1880-1914"
Ambrosio, C. (in preparation) "Charles S. Peirce's Pragmatism and the Quest for Representations in Art and Science".

Links

c.ambrosio@ucl.ac.uk
www.ucl.ac.uk/sts/staff/ambrosio

Background statement of research

My interest in word and image began in the late 1970s when I worked as a librarian at Chelsea School of Art. I developed the artists' books collection and taught an option on making artist's books until 2000. I also curated exhibitions at the University of Essex, workfortheeyetodo and the Old Operating Theatre. Inevitably I started to make my own books, which, if they have a theme, explore the idea of metonymy. In 2007-8 I curated the Breaking the Rules exhibition at the British Museum, which looked how the avant garde manifested itself in print and looked at the calligramme as an international technology of the avant garde. I'm also a board member of Matt's Gallery and Book Works.

At present

I am working on G and Vesch for the OUP/AHRC modernist magazines project. In 2010 I am curating a show on metonymy at the ChelseaSpace.

Recent publications

Artists' multiples (2001)
Multiplication (2001)
What you'd expect: Peter Liversidge (2004)
Breaking the rules (2007)

Links

stephen.bury@bl.uk
www.bookarts.uwe.ac.uk/lib05/11.htm

Background statement of research

Martin John Callanan is an artist whose work spans numerous mediums and engages both emerging and commonplace technology. His work has included translating active communication data into music; freezing in time the earth’s water system; writing thousands of letters; capturing newspapers from around the world as they are published; taming wind onto the internet and broadcasting his precise physical location live for over two years.

Callanan is Teaching Fellow at the Slade School of Fine Art and Junior Editor for Leonardo Electronic Almanac. Working across many organizations forming multi-disciplinary relationships framing his artistic research within a new form of - and potential future for - research universalism. Building upon time engaged in research and teaching, using art to transcend perceived boundaries. Outcomes span experimental and traditional methods, ranging from online to print; attracting considerable international attention among diverse audiences in the form of publications, exhibitions, screenings and lectures. Current and future investigations center around metaphor in the presentation of data as information.

Recent publications

Data Soliloquies, Martin John Callanan & Richard Hamblyn, UCL Environment Institute, London, January 2010
You Are Here, Broken Dimanche Press, 2009
Migrating Reality Kunsthochschule für Medien, Berlin, 2008
Letters 2004-2006, Martin John Callanan, Book Works, London, 2007

Links

http://greyisgood.eu
Text Trends
A Planetary Order (Terrestrial Cloud Globe)
I Wanted to See All of the News From Today
Slade Centre for Electronic Media in Fine Art (SCEMFA)
Slade Press
m.callanan@ucl.ac.uk

Background statement of research

I am currently developing a research network investigating the legacy of the french collective Oulipo and its enduring relationship with interdisciplinary practice. I am particularly interested in how Oulipo's constrained writing practices continue to inform contemporary art. My collaborative research with Jon Thomson comes from a fascination we share in how global communications networks are transforming the way we all perceive and understand the world around us. Our practice spans online and public art commissions, as well as gallery-based work and often looks at how real time processes and live data transmission can be used as a material or artistic medium.

At present

In addition to the Oulipo artists' network, I am making narrative documentaries entirely from information found on the worldwide web. Our most recent being, 'A Short film about War' where viewers are taken to a variety of war zones as seen through the eyes of the online photo sharing community Flickr, and as witnessed by military and civilian bloggers.

Recent publications

A Short Film about War, Centre for Contemporary Art, Glasgow, 2009
'Flat Earth', English Lounge, Tang Contemporary, Beijing, 2009
'Decorative Newsfeeds.' Flicker, British Council Collection exhibition, Damascus 2009
'Horizon' and 'BEACON.' Timecode, Dundee Contemporary Arts, 2009
Solo exhibition, Moderna Museet, Stockholm, 2008

Links

alison@thomson-craighead.net
www.thomson-craighead.net

Background statement of research

My research comes from a fascination with time and motion, as with the mutoscope, the flip book or the rolodex. I take photographs and string them into sequences seeing what little information is needed to present motion. I use the technology of video to capture, process, store and reconstruct a series of still images, by recording intervals of time and present scenes in motion, as a misrepresentation of time.

Relevant publications

Mixmen Mixmedia, Acozza Gallery, Wonju, S.Korea, 2009
Video Intervals, still intervals, CCNOA, Brussels, 2009
Animations, Galleria Zero, Barcelona, 2008
Despotis, Turtle project, Woburn Square, London 2007

Links

m.duffy@ucl.ac.uk
www.flickr.com/photos/michaelduffy

Brief account of research

Lee Grieveson is Reader in Film Studies and Director of the Graduate Programme in Film Studies at University College London. He is a silent cinema historian, with particular interests in governance, citizenship, and the formation of disciplinary studies. To this end, he is author of Policing Cinema: Movies and Censorship in Early Twentieth Century America (Berkeley: University of California Press, 2004), and co-editor of three volumes: The Silent Cinema Reader (London: Routledge, 2004), with Peter Kramer; Mob Culture: Hidden Histories of the American Gangster Film (New Brunswick, N.J.: Rutgers University Press, 2005), with Peter Stanfield and Esther Sonnet; and Inventing Film Studies (Durham, N.C.: Duke University Press, 2008), with Haidee Wasson. Grieveson is currently co-principal investigator, with Colin MacCabe, of a major UK Arts and Humanities Research Council funded project entitled Colonial cinema: moving images of the British Empire, a project which both aims to digitally archive British colonial cinema spanning the twentieth-century and to organize scholarly gatherings to investigate these materials. He is also working on a book, tentatively entitled Movies and Conduct, which addresses the inter-connection of liberal governmentality and cinema in the first third or so of the twentieth century.

Links

l.grieveson@ucl.ac.uk
www.ucl.ac.uk/filmstudies/staff/grievesonl.htm

Background statement of research

I have a particular research interest in medieval manuscripts, with their interplay between text and images and the significant role of manuscript context in assessing textual production and reception. Innovative digital techniques have been useful in my work in terms of both interpreting text on the manuscript page and in thinking about how manuscript context can be made accessible to modern readers. The works I study represent the very beginnings of Old English literature - the Old English Boethius was perhaps written or at least commissioned by King Alfred at the end of the ninth century - but their resonances for word and image continue to the present day.

At present

I am currently researching into the prefaces and epilogues attached to Old English literary works. Issues of genre, authorship and authority come into play here, on which the visual impact of the text on the page as well as content have a bearing.

Publications

The Old English Boethius [with Malcolm Godden] (Oxford: Oxford University Press, 2009)
'The Production of the "Peterborough Chronicle"', in 'Reading "the Anglo-Saxon Chronicle": Language, Literature and History', ed. A. Jorgensen Studies in the Early Middle Ages (Turnhout: Brepols, 2009) [at press]
'Beginnings and Transitions: Old English', in The Oxford History of English, ed. L. Mugglestone (Oxford: Oxford University Press, 2006; paperback ed. 2008), pp. 32-60
'Old English Prose: King Alfred and his Books', in Beowulf and Other Stories: A New Introduction to Old English and Old Norse Literature, ed. R. North and J. Allard (Harlow: Pearson Education, 2007), pp. 46-71
'Fragments of Boethius: The Reconstruction of the Cotton Manuscript of the Alfredian Text', Anglo-Saxon England 34 (2005), 169-81

Links

s.irvine@ucl.ac.uk
www.ucl.ac.uk/english/about/staff/si.htm

Background statement of research

Alongside a career in librarianship, I have maintained a slender but committed creative practice in poetry, including experiments in audio and electronic media as well as page-directed writing. Began thinking about literature in relation to the visual arts first through postgraduate study at Reading University in the early 1980s; later joining the National Art Library I encountered artists' books for the first time, as well as becoming interested in various aspects of art books, especially illustration and the literature of the decorative arts, and in visual aspects of poetry. In recent years I have sought to converge my professional and creative interests on the field of 'Book History', after an MA from the University of London Institute of English Studies.

At present

Research: preparing an essay based on research into some 19th-century publications of the Victoria and Albert Museum.
Poetry: working on a sequence of poems in response to photographs by the artist Lindsey Adams.

Relevant publications

'"Eye-spy": Geraldine Monk and the visible', in Scott Thurston, ed., The Salt Companion to Geraldine Monk (Salt, 2007), pp. 119-151. (Critical essay)
Base to Carry, Barque Press, 2004. (Poetry)
The Victoria and Albert Museum: a bibliography and exhibition chronology, 1852-1996, Fitzroy Dearborn, 1998. (Bibliography / Book history)

Links

elizabeth_james@btinternet.com
e.james@vam.ac.uk
Blog on poetry and books: The Oceanographer of O http://theunderfoot.blogspot.com/
Website: www.cottage.clara.net/
Poems and recording: Archive of the Now www.archiveofthenow.com/

Background statement of research

My research interests focus primarily on modern and contemporary American poetry, and avant-garde writing, film and culture more generally. I have written extensively on poets affiliated with the New York Schools (including John Ashbery, Ted Berrigan, and Bernadette Mayer). My most recent book, entitled We Saw the Light: Conversations Between The New American Cinema and Poetry, focuses on the aesthetic exchanges between 'New American' filmmakers and poets of the 1950s and 1960s. I examine how the work of filmmakers such as Stan Brakhage, Kenneth Anger, Alfred Leslie, Rudy Burckhardt and Robert Frank influenced and intersected with the work of poets like Frank O'Hara, Robert Duncan, John Ashbery, Allen Ginsberg and Robert Creeley.

At present

How and why were the New York punk scenes - led by bands including the Velvet Underground, the Patti Smith Group, and Richard Hell and the Voidoids - informed and influenced to a surprisingly significant degree by poetic formations from French Symbolism to the Beats to the New York Schools?

Recent publications

"We Saw the Light": Conversations Between The New American Cinema and Poetry. Iowa City, IA: The University of Iowa Press. (2009)
'From Poetry to Punk in the East Village.' The Cambridge Companion to the Literature of New York. Eds. Cyrus Patell and Bryan Waterman. Cambridge: Cambridge University Press (Forthcoming 2009).
"Not To Creation Or Destruction But To Truth": Robert Duncan, Kenneth Anger, And The Conversation Between Film And Poetry.' Texas Studies in Language and Literature. Volume 50, Issue 1, Spring 2008, pages 34-57.
"Don't Ever Get Famous": Essays on New York Writing after the 'New York School. Edited by Daniel Kane. Chicago, IL: Dalkey Archives Scholarly Series. (2007)
"All Poets Welcome": The Lower East Side Poetry Scene In the 1960's, Berkeley: The University of California Press (2003).

Links

daniel.kane@sussex.ac.uk

Kristen Kreider, Dr Royal Holloway College

Background statement of research

As a practicing artist and poet, I am interested in Word and Image relations manifest within interdisciplinary creative practice. To this effect I completed a practice-based PhD under the direction of Professor Jane Rendell at the Bartlett School of Architecture and Dr Sharon Morris at the Slade School of Fine Art that, combining aspects of poetry, fine art and spatial practice, develops a 'material poetics' through critical writing, theoretical investigation and a body of creative work (Toward a Material Poetics: Sign, Subject, Site, 2008). My collaborative research with artist and architect James O'Leary stems from a shared interest in interdisciplinarity and the creative potential of place: operating through an integrated visual-spatial-poetic practice, we engage with sites of architectural and socio-cultural significance, exposing and re-contextualising the site in question through performance, installation and time-based media.

At present

I am currently working with James O'Leary to complete the final section of Gorchakov's Wish, a five-part project devised in response to the penultimate scene of Andrei Tarkovsky's film Nostalghia (1983). We have also just returned from a research trip to Japan where we engaged in 14 site-specific performances, the results of which will be shown in an exhibition entitled Video Shakkei at The Centre for Drawing, Wimbledon College of Art (3rd September-1st October).

Relevant publications

'Constructing Atmospheres: A Phenomenology of the Film Image and Its Relation to Place,' published as part of conference proceedings for Architecture and Phenomenology Second International Conference in Kyoto, Japan, 2009
'Drawing the Film Image: Gorchakov's Wish IV: Immolation Tryptich,' performance, The Drawing Field, Camberwell College of Art, London, UK, 2009
Gorchakov's Wish III: Kino Haiku, installation, Chelsea Triangle Space, London, UK, 2009
Gorchakov's Wish I: Dawn Domani, performance documentation, Stephen Lawrence Gallery, London, UK, 2009
Gorchakov's Wish II: Fall: An Allegory in Five Stages, performance for film, Triangle Space, London, UK, 2009
Gorchakov's Wish I: Dawn Domani, site-specific performance, Bagno Vignoni, Italy, 2008

Links

kristen.kreider@rhul.ac.uk
k@unnameable.org
http://www.unnameable.org

Background statement of research

Having graduated with a degree in Fine Art & History of Art from Goldsmiths College I went into librarianship with the specific aim of becoming an art librarian specialising in modern and contemporary art. I worked for three years at the Poetry Library, South Bank Centre, which is where I first became aware of concrete and visual poetry. More recently I have become interested in artists' publishing; during my six years as a librarian at Chelsea College of Art & Design I was responsible for a large and prestigious collection of artists' books which contained many examples of visual poetry amongst the text-based works. While at Chelsea I also undertook research on collections of art ephemera in London and New York, funded by the Art Libraries Society. I have been the Subject Librarian for the Slade School of Fine Art since December 2005.

At present

I am currently working to improve access to the independent press collections at UCL which comprise the Poetry Store, Little Magazines and Alternative Press collections. The Poetry Store contains extensive examples of key small presses known for their visual output such as Coracle, Wild Hawthorn, Tarasque, and Writers Forum. The Little Magazines collection contains many significant concrete / visual poetry magazines including Poor Old Tired Horse, And, Aggie Westons, and Quixote. I am also working on expanding the number of artists' periodicals in The Little Magazines collection; examples include 0-9 (Vito Acconci & Bernadette Mayer), The Fox (Art & Language), and File (General Idea).

Publications

Artists' books: a cataloguers' manual. Compiled by Maria White, Patrick Perratt and Liz Lawes. ARLIS/UK & Ireland. 2006.
Ephemera: an undervalued resource in the art library. Art Libraries Journal, vol. 31 no 4, 2006.
Ephemera in the Art Library. Art Libraries Journal, vol. 28 no 2, 2003.

Links

e.lawes@ucl.ac.uk
UCL Little Magazines, Alternative Press and Poetry Store Collections:www.ucl.ac.uk/Library/special-coll/litmags.shtml
Library news for artists blog: www.ucl.ac.uk/Library/blog/slade/

Background statement of research

At various times in my career I have returned to words as a source of inspiration or strategy for making work. It is their multiplicity that fascinates and intrigues me, as phenomena on one hand, and as vehicles or conduit of meaning on the other; between both ends of this diversity exists a wealth of visual and conceptual expression. I became aware of this potential through the work of Apollinaire and Mallarme, and then Ian Hamilton Finlay set it in stone, (pun intended). The objectification of my chosen words exists in both the public and private projects. They are swished, squashed and extruded in the virtual spaces of CAD to generate impossible or improbable geometries, ready to be teased back into this world by the means of digital manufacture. They are punched or sliced out of thick steel to be hung in car park windows or layered, micron upon micron of laser welded plastic, to stand alone for reverie and contemplation.

At present

Recently I have been working with two community groups in Hull using words to create art interventions in local Primary Health Care Centres. I am also looking at the sigils of angels as a source to generated geometric forms. Ref :- Barrett. The Magus

Recent publications

2008 Hull NHS/LIFT, Park, Primary Health Care Centre Hull. Artist intervention in conjunction with HKR's supporters club.

2009 Hull NHS/LIFT, The Orchard Centre, Primary Health Care Centre Hull. Artist intervention in collaboration with the Rainbow Garden and Orchard community group.
2009 R A Summer Show, New media room. Two angels, 3D nylon prints.

Links

www.allerdale.gov.uk/default.aspx?page=36&prid=585
www.allerdale.gov.uk/leisure-and-culture/arts-and-entertainment/public-art/car-park-grilles-design-scheme.aspx
www.citycare-developments.co.uk/artsCaseStudies.php

Background statement of research

A longstanding concern has been that of including writing within the repertoire of visual art and placing emphasis on writing as a practice not only in relation to 'writing as art' but also the 'art' of writing theory. Moving between writing, photographic practice and spoken performance, the concern also involves delving into the difference between speaking and seeing.

At present

Current research seeks to expose presupposition held of and by language; it also attempts to disturb the division between humanitas and animalitas that is based upon having/not having the word.

Publications

Yve Lomax, Passionate Being: Language, Singularity and Perseverance (London and New York: I.B.Tauris, forthcoming 2009).
Yve Lomax, 'To  not happen', parallax, forthcoming 2009.
Yve Lomax, 'Besides/In a paradigmatic way', The Journal of Visual Art Practice, Vol 7, No 3, 2009.
Yve Lomax, 'Talking Theory', Telling Stories: Theories and Criticism/Cinematic Essays/Objects and Narratives (Cambridge: Cambridge Scholars Press, forthcoing 2009).
Yve Lomax, Sounding the Event: Escapades in dialogue and matters of art, nature and time (London and New York: I.B.Tauris, 2005).

Links

y.lomax@gold.ac.uk
yve.lomax@rca.ac.uk

Background statement of research

I have been writing poetry for many years; since 1995 I've been working on an extended prose poetry project entitled Spiritual Letters. However, I've also been developing ways of working with image and text: several of these visual/textual pieces appeared in a feature in Golden Handcuffs Review, Vol. 1 no. 10, 2008, together with essays on my work (including one by Keith Jebb on my visual poetry). Three of my "visual sonnets" (which don't actually use words) are in Jeff Hilson's The Reality Street Book of Sonnets (Reality Street Editions, 2008). As a librarian, and later as a Research Fellow at NTU, where I've been involved with the Little Magazines Project, I have organised exhibitions (at various venues) that explore image and text in the context of little magazines / small presses. My main attempt at writing about this subject is 'Interrelation, Symbiosis, Overlap' (in Art and Disclosure, Stride, 1998).

At present

I am continuing to work on the Spiritual Letters project, the entire first five series of which are due to be published by Chax Press. Future plans include a research project on image and text, investigating the subject in both literary and visual art contexts, a study of contemporary art and spirituality, and an anthology of non-mainstream/experimental narrative prose.

Recent publications

The Lariat and Other Writings by Jaime de Angulo, edited with an introduction by David Miller (Counterpoint Press, Berkeley, 2009).
In the Shop of Nothing: New and Selected Poems (Harbor Mountain Press, Brownsville, VT, 2007).
British Poetry Magazines 1914-2000: A History and Bibliography of 'Little Magazines' (with Richard Price; The British Library / Oak Knoll Press, London / New Castle, DE, 2006).
'David Miller Interviewed by Tim Allen: Shuffling of Revelation and Occlusion', in: Don't Start Me Talking: Interviews with Contemporary Poets, edited by Tim Allen and Andrew Duncan (Salt Publishing, Cambridge, 2006).
The Waters of Marah: Selected Prose 1973-1995 (Shearsman Books, Exeter, 2005).
Spiritual Letters (I-II) and other writings (Reality Street Editions, Hastings, 2004).

Links

david.miller@ntu.ac.uk
www2.ntu.ac.uk/littlemagazines
www.writersartists.net/dmiller.htm
www.soton.ac.uk/~bepc/poets/miller.htm
www.poetrypf.co.uk/davidmillerpage.html
http://home.freeuk.net/katermurr
www.goldenhandcuffsreview.com

Statement of research

My practice has always shuttled between different formal or material languages and different (academic) disciplines, each one testing the limits of the other and creating a field of pressure or destabilisation in representational or symbolic realms.
While I have made work in which word and image operate together to produce empathetic new meanings, more frequently the work sets written (and sometimes spoken) language into contest with its visual/formal inherencies and in doing so translates it as a system: a set of codes, hierarchies and powerplays are usurped and put to another use.However as I often develop work from pre-existing texts, this translation is not simply critical or formal, but also tied in with the semantics, histories and authorial framework of a chosen text. So the text is never entirely ceded to the visual, nor disconnected from its place in literary or cultural terms. In the midst of these explorations of language, representational systems and power, there is also crucially a body/figure at work. So I am concerned with articulation at a material and physical level also. Word and image therefore are sometimes collpased together through processes of 'scribing'. Here the body, time, matter and space establish specific and differentiated conditions upon the subject in question. Through all of this the work creates a series of encounters with specific and generic parameters, encounters that set out to reveal, and perhaps go beyond, the limits of the symbolic subject.

Recent publications

In the Name of Love for Homerton Hospital new maternity unit. One of 5 new projects being produced by art & architecture group 'taking place'. ACE funded. Winter 2009. www.takingplace.org.uk
Unspeaking Engagements curated by Steve Dutton & Brian Curtin at Chulalongkorn University Gallery, Bangkok. Sept 2009. (Catalogue available). www.car.chula.ac.th/~art/en/?page_id=18
Creekside Open selected by Mark Wallinger, APT Gallery, London. June 2009. www.creeksideopen.org
Isoli [cont.], Lanchester Gallery Projects, Coventry.January 2009.(Catalogue available). www.coventry.ac.uk/researchnet/d/920 Review on this exhibition by Cherry Smith in CIRCA 128, Summer 2009.
Vexations as part of 'Site Platform' Site Gallery, Sheffield, UK. Dec/Jan 2008. www.sitegallery.org/exhibitions/view.php?id=166
Relevant recent 'conference' presentations/publications:
Translated Acts 1, ICFAR, Central St. Martin's School of Art, London
www.icfar.org.uk/content/translated-acts-1
Launch of Writing Digital Media network and E and eye: poetry between the electronic and the visual, Tate Modern, London
www.tate.org.uk/modern/eventseducation/talksdiscussions/6703.htm
Article on my practice in Irish architecture journal, Building Material's forthcoming issue on interdisciplinarity

Links

mcleer.bridge@virgin.net

Background statement of research

Trained originally in painting and photography at the Slade my work, even as a student included text.  This developed into an interest in poetry and various forms of art that include the word - the artist's book, film, photography and video installation, and live performance with projection. After completing an MA in psychoanalytic theory at Middlesex University I then wrote a PhD thesis under the direction of psychoanalyst Bernard Burgoyne, who supervised my PhD at the Slade School of Fine Art, on the relation between words and images in the act of self-reference, comparing the various forms of self-reference in the writings of H.D. with the images and texts by the surrealist Claude Cahun.  My Post-doctoral research has continued to address the question of the precise status of the word-image complex using the semiotics of C.S. Peirce.

At present

I am learning stone lithography, combining traditional analogue processes with digital text. In October 2009 I will take up a one-month residential fellowship for creative writers at Hawthornden Castle, International Retreat for Writers, outside Edinburgh, where I will work on my second collection of poetry.

Recent publications

For The Oak performance of text and projection by Sharon Morris with live cello music by Anton Lukoszevieze, Crazy Wisdom, King's Place, London, March, 2009.
After the Songs of Solomon: a sequence of poems, an invitation to respond to Judy Chicago's prints Voices from the Song of Songs for the Cambridge Festival of Ideas in Arts, Humanities, and Social Sciences, New Hall, Cambridge, 19. October - 14 November 2008. Published in The Long Poem Magazine, forthcoming, July, 2009.
False Spring (London: Enitharmon Press, 2007) a collection of poems 2001-2005.
Peirce: re-staging the sign in the work of art', Semiotica, Mounton de Gruyter, Berlin/New York.  Ed. Martin Lefebvre, special issue on Peirce, forthcoming, 2009. 
'Image, Imagism, and the Work of Art', (trans into German) Bilder BeSchreiben, ed. Winfried Nöth (Kassel University Press, forthcoming, 2009).

Links

sharon.morris@ucl.ac.uk
www.poetrypf.co.uk/sharonmorrispage.html
home.freeuk.com/katermurr/sharon-morris-three-poems.htm
ah.brookes.ac.uk/poetry/poemoftheweek/horses/
www.waterlog.fvu.co.uk/simonpope/painting06_sharon.html
www.poetrymagazines.org.uk/magazine/record.asp?id=1893e
poetrytrend.blogspot.com/search/label/084%20-%20Sharon%20Morris%20-%20HEADLANDS

Background statement of research

My research concerns the intermedial aspect of word and image, and the differences, similarities and cross-overs in conceptions of time and narration. In particular, I am interested in the relation and exchange existing between film and series of photographs, especially when words are also involved, whether as written text or voice-over narration. My research aims to explore the ways in which this layered intermediality may also be a way of reflecting on each medium. In what ways do series of photographs with text resemble or differ from moving images with narration? Indeed, what happens when a series of photographs is 'cinematized' and narrated over, and thus given a certain, fixed duration?

At present

Matilde is a British Academy Postdoctoral Fellow, working on a project entitled 'Screens, Projections and Projectors: Cinema between Sculpture and Monumentality.' She wrote her PhD thesis on Antonioni and experimental filmmaking, and is interested in the dialogue between 'commercial' and 'experimental' cinema, and between cinema, art and other medias.

Recent publications

'Moving Pictures: Cinema and Its Obsolescence in Contemporary Art', Journal of Visual Culture (August 2009)
'Dream Houses', Sophia (June 2009)
Interview with artist filmmaker Tony Hill, www.lux.org.uk/media/podcast-tony-hill-interview;
'The Cut: Interruptions of Consciousness in Zorns Lemma and Red Desert,' Crash Cinema, ed. by Jill Good, Mark Goodall and Will Godfrey (Cambridge Scholars Press, 2007);
'Between Stillness and Movement: Boredom, Photography and Time in Michelangelo Antonioni's L'eclisse,' Object (2004-05)

Link

m.nardelli@ucl.ac.uk

Background statement of research

Winfried Nöth is Professor of Linguistics and Semiotics at the University of Kassel, Visiting Professor at the Catholic University of São Paulo, Honorary Member of the International Association for Visual Semiotics, former President of the German Association for Semiotic Studies and Director of the Interdisciplinary Center for Cultural Studies at the University of Kassel. Nöth has done word and image research in the context of his "Handbook of Semiotics" and books and papers on the semiotics of the media (esp. paintings, press photos, photography in general, maps, the comics, advertising). Together with Lucia Santaella, he is author of Imagen: Comunicación, semiótica y medios and Estratégias semióticas da publicidade. Other books: Semiotics of the Media, Self-Reference in the Media (Advertising, Comics and Computer Games), and Bilder BeSchreiben. For details see www.uni-kassel.de/~noeth.

At present

Nöth's interest in Word and Image Research has its current focus on the semiotic foundations of the study of images, diagrams, mental imagery, maps, and words in relation to images, especially in light of Peirce's semiotics.

Recent publications

Nöth, Winfried & N. Bishara (eds.). 2007. Self-Reference in the Media, 3-30. Berlin: Mouton de Gruyter (Approaches to Applied Semiotics 6).
Nöth, Winfried. 2008. 'Semiotic foundations of natural linguistics and diagrammatic iconicity'. In Naturalness and Iconicity in Language, K. Willems & L. De Cuypere (eds.), 73-100. Amsterdam: Benjamins.
Nöth, Winfried. 2009. Bildsemiotik. In 'Bildtheorien': Anthropologische und kulturelle Grundlagen des Visualistic Turn, K. Sachs-Hombach (ed.), 235-254. Frankfurt/Main: Suhrkamp.
Nöth, Winfried. 2009. 'Metareference from a semiotic perspective'. In Metareference Across Media: Theory and Case Studies (Studies in Intermediality 4), W. Wolf in collab. with K. Bantleon & J, Thoss (eds.), 89-134. Amsterdam: Rodopi.
Nöth, Winfried. 'White and black: Symmetries and antisymmetries'. In White Matters / Il bianco in questione ([Special Issue] Athanor. Semiotica, Filosofia, Arte, Letteratura 17.10), 449-461. Roma: Meltemi.

Links

noeth@uni-kassel.de
http://www.uni-kassel.de/~noeth

Background statement of research

As a practicing artist and architect, I am interested in the precise combination of word and image, particularly when these combinations form graphic instructions for procedures, constructions or events. As a member of the Spaces & Narrations Research Group at Chelsea College of Art & Design, I continue to explore the relationship between narrative construct and spatial sequence, using a variety of media - from artists' books, drawings and film to immersive environments. My collaborative research with artist and poet Kristen Kreider stems from a shared interest in interdisciplinarity and the creative potential of place: operating through an integrated visual-spatial-poetic practice, we engage with sites of architectural and socio-cultural significance, exposing and re-contextualising the site in question through performance, installation and time-based media.

At present

I am currently working with Kristen Kreider to complete the final section of Gorchakov's Wish, a five-part project devised in response to the penultimate scene of Andrei Tarkovsky's film Nostalghia (1983). We have also just returned from a research trip to Japan where we engaged in 14 site-specific performances, the results of which will be shown in an exhibition entitled Video Shakkei at The Centre for Drawing, Wimbledon College of Art (3rd September-1st October, 2009)

Relevant publications

'Constructing Atmospheres: A Phenomenology of the Film Image and Its Relation to Place', published as part of conference proceedings for Architecture and Phenomenology Second International Conference' in Kyoto, Japan, 2009
'Drawing the Film Image: Gorchakov's Wish IV: Immolation Tryptich,' performance, The Drawing Field, Camberwell College of Art, London, UK, 2009
Gorchakov's Wish III: Kino Haiku, installation, Chelsea Triangle Space, London, UK, 2009
Gorchakov's Wish I: Dawn Domani, performance documentation, Stephen Lawrence Gallery, London, UK, 2009
Gorchakov's Wish II: Fall: An Allegory in Five Stages, performance for film, Triangle Space, London, UK, 2009
Gorchakov's Wish I: Dawn Domani, site-specific performance, Bagno Vignoni, Italy, 2008

Links

j.o-leary@chelsea.arts.ac.uk
j@unnameable.org
Kreider + O'Leary: www.unnameable.org/
Recent Activity: http://blog.unnameable.org/
Chelsea Research Profile: www.chelsea.arts.ac.uk/47301.htm
Spaces & Narrations: http://www.arts.ac.uk/isd/
The Centre for Drawing: http://www.thecentrefordrawing.org/

Background statement of research

Francette Pacteau is the author of The Symptom of Beauty (London, Reaktion, and Cambridge, Harvard University, 1994; Japanese translation, 1997; Korean translation, 1999, Turkish translation, 2004; excerpted in F. Timeto (ed.), Culture della Differenza: Femminismo, visualità e studi postcoloni, Novara, 2008). Her essay contributions to books include 'The seduction of difficulty: a note on interpretation', in N. Bryson, P. Wollen et al, Victor Burgin, Barcelona, Fundació Antoni Tàpies, 2001, and 'In search of Lost Times', in Homi Bhabha, Stuart Hall et al, Mitra Tabrizian: Beyond the Limits, Göttingen, Steidl Verlag, 2004. She collaborated with the artist Victor Burgin on the audio installation The Little House at the MAK Center, Los Angeles, in 2008 - an outcome of comparative research on modernist architecture (via Rudolf M. Schindler's Hollywood King's Road House) and 18th century interior decoration (via Jean François de Bastide's 1758 novella La Petite Maison).

At present

In the broadest terms, my research engages with the field of visual representations, especially photography and film. Most recently I have written about violence in relation to the film image, considering the terms 'violence' and 'image' in their various relationships to each other: images of violence, the violence of the image, violence to the image.

I have also begun a parallel research project on representations of architectural space in photography, film and writing. This long standing interest was revived on my recent visit to Mies van der Rohe's Farnsworth House, near Chicago. My first reaction on seeing the house was of a type famously remarked on by Freud on his first visit to the Acropolis: 'So, this really exists!' The Parthenon, the Farnsworth House... an uncanny experience accompanies the first material glimpse of a building that - through the relay of visual images (photographs, drawings, sometimes films) and stories told - has long haunted one's imaginary. It is this encounter between an architecture of images and words (and their memory) and the materiality of the actual building that I wish to investigate.

Links

francette.pacteau@rca.ac.uk

Background statement of research

As an architectural designer and historian, art critic and writer, my work has explored various interdisciplinary intersections: feminist theory and architectural history, fine art and architectural design, autobiographical writing and criticism through sole authored and co-edited volumes, Site-Writing: The Architecture of Art Criticism (forthcoming February 2010), Art and Architecture (2006), The Pursuit of Pleasure (2002) and co-editor of Pattern (2007), Critical Architecture (2007), Spatial Imagination (2005), The Unknown City (2001), Intersections (2000), Gender Space Architecture (1999) and Strangely Familiar (1995).

I have also been involved in the curation of exhibitions which produce spatial arrangement of words and images, such as Strangely Familiar (1995) and Spatial Imagination (2006), and the production of text installations, where the words operates as script and as image, 'Les mots at les choses', Material Intelligence, The Entwistle Gallery, London (March 2003) and 'An Embellishment: Purdah', Spatial Imagination, The Domo Baal Gallery, London (January 2006).

At present

My current site-writing work investigates the spatialization of criticism. I am developing this project by setting up a network on spatial writing with artists, geographers and architects to investigate the ways in which different disciplines engage with the spatiality of writing, on and off the page, through narration, voice, position. I hope to take forward my interest in psychic space into an examination of the architecture of psychoanalysis - looking at the architectural representations of psychic processes and spaces in the drawings and writings of psychoanalysts, focusing in particular on Freud's diagrams of word- and thing-presentations, as well as explorations of the 'setting' - that space both psychic and architectural - in which psychoanalysis is practiced.

Relevant publications

Books

Site-Writing: The Architecture of Art Criticism (London: IB Tauris, forthcoming February/March 2010).

Refereed Articles

'Site-Writing: she is walking about in a town which she does not know', Lesley Mcfadden and Matthew Barrac (eds) Connected Spaces, special issue of Home Cultures (2007)

Chapters

'You tell Me', Public Spheres After Socialism, Malcolm Miles, Angela Harutyunyan and Kathrin Horschelmann (eds) (Bristol: Intellect Books, 2008).
'The Setting: Paradise Lost (And Regained)', Jane Tormley and Gillian Whiteley (ed) Telling Stories (Cambridge Scholars Press, forthcoming).

Catalogue Essays

'Art's Use of Architecture: Place, Site and Setting', PsychoArchitecture curated by Ralph Rugoff, (London: Hayward Gallery, 2008).

Links

j.rendell@ucl.ac.uk
www.janerendell.co.uk/
www.bartlett.ucl.ac.uk/research/architecture/profiles/Rendell.htm
www.bartlett.ucl.ac.uk/otherhostedsites/spatialimagination/

Background statement of research

My collaborative research with Alison Craighead comes from a fascination we share in how global communications networks are transforming the way we all perceive and understand the world around us. Our practice spans online and public art commissions, as well as gallery-based work and often looks at how real time processes and live data transmission can be used as a material or artistic medium. Examples would include an artwork called, 'Horizon'; a narrative clock made out of images accessed in realtime from webcams found in every time zone around the world, and BEACON; a large mechanical railway flap-sign that continuously relays live web searches as they are being made around the world presenting them back anonymously and at regular intervals as an endless poetic broadcast.

At present

Making narrative documentaries entirely from information found on the worldwide web. Our most recent being, 'A Short film about War' where viewers are taken to a variety of war zones as seen through the eyes of the online photo sharing community Flickr, and as witnessed by military and civilian bloggers.

Recent publications

A Short Film about War, Centre for Contemporary Art, Glasgow, 2009
'Flat Earth', English Lounge, Tang Contemporary, Beijing, 2009
'Decorative Newsfeeds.' Flicker, British Council Collection exhibition, Damascus 2009
'Horizon' and 'BEACON.' Timecode, Dundee Contemporary Arts, 2009
Solo exhibition, Moderna Museet, Stockholm, 2008

Links

j.thomson@ucl.ac.uk
www.thomson-craighead.net

Interest in Word and Image research

Before becoming an academic, Wendy spent a year at Art College and spent some time working as a music journalist for the Rock Writers' Collective in London. Her research interests are in contemporary fiction, in literary and cultural theory, and in the ways in which these can inform aesthetic, social and political thought. She is also interested in potential meetings between the arts, humanities and sciences. In particular, she is interested in evolutionary systems theory ('complexity'), ecocriticism, ecophenomenology, biosemiotics and the philosophy of Charles Sanders Peirce, as providing new ways of thinking about human knowing and creativity in terms both of philosophical theory and also creative praxis.

Current research

Her work on biosemiotics has led to an interest in the semiotic philosophy of Charles Sanders Peirce and especially the latter's idea of a logic of abduction and 'the play of musement'. She is currently working on animal mind and an evolutionary and emergentist aesthetic based on Peirce's understanding of signs as icons, indexes and symbols.

Relevant recent publications

The Whole Creature: Complexity, Biosemiotics and the Evolution of Culture, London: Lawrence & Wishart, 2006
'The Book of Nature: Biosemiotics and the Evolution of Literature', S.J. James and N. Saul, eds, The Evolution of Literature:Legacies of Darwin in European Cultures, Amsterdam & New York: Rodopi, 2009.
'The Biosemiotic Turn: Abduction, or, the Nature of Creative Reason in Nature and Culture', A. Goodbody and K. Rigby, eds. Ecocritical Theory: New European Approaches, Charlottesville VA: Virginia University Press, 2009.
'The Fundamental Reality of Metaphor: Biosemiotics and Animal Mind', special issue on The Semiotics of Perception, guest eds M. Tønnessen & K. Lindström, Journal of Biosemiotics vol. 3, no. 1. 2010.
'Creative Evolution: A Theory of Cultural Sustainability', Communications, Politics and Culture, Vol. 42, No. 1, 2009.

Links

w.wheeler@londonmet.ac.uk
www.londonmet.ac.uk/depts/hal/staff/wendy-wheeler.cfm

Background statement

I first encountered artists' books at the National Art Library. My interest developed further when I came to work at Tate Library and I am now responsible for the Artists' Books Collection. The Collection, which includes works dating from the 1960s onwards, numbers about 4,500 and spans many areas of interest within the artists' book world, including concrete poetry, word and image, alphabet books, blank books, identity, land and nature, altered books, book structure and much else. The Collection includes works by Ian Hamilton Finlay (over 300 works), Thomas A. Clark, Essence Press, Coracle Press, Colin Sackett, Sally Alatalo and many others.

At present

I actively develop the Artists' Books Collection. I purchase for the Collection usually directly from the artist or specialist booksellers. I attend fairs, events and conferences. I encourage access to the Artists' Books Collection through descriptive cataloguing, group visits and talks.

Publications

Artists' books: a cataloguers' manual. Compiled by Maria White, Patrick Perratt and Liz Lawes. ARLIS/UK & Ireland. 2006.

Links

maria.white@tate.org.uk
Tate Library and Archive on Tate website (including opening times and registration information): www.tate.org.uk/research/researchservices/readingrooms/
Direct link to Tate Library search page - click on "Search artists' books" in grey bar to restrict your search to the Artists' Books Collection: http://library.tate.org.uk/uhtbin/cgisirsi/x/0/0/57/49?user_id=webserver

Background statement of research

My practice as an artist centres on the use of sketchbooks as finished works. These objects record an oscillation between drawn images and written words. Peirce's Semiotic was used to build a research tool to analyse these objects for my recent PhD at Wimbledon, UAL. What was also clarified was Peirce's Esthetic theory which studies a human power to freely interpret, which is itself developed from the oscillation between expression and formalisation. Words alone cannot help us to understand the limits of formalisation; and likewise, images cannot show the limits of expression. My interest is in the comparison of these two domains when attempting to purposefully communicate meaning. That comparison will, according to Peirce's Esthetic, offer us a glimpse of the limits of both, at the same time as developing our freedom of interpretation within those limits.

At present

I am currently developing a research tool called TAG for enquiring into any object, be it emotional, material or conceptual. The tool generates and clarifies research questions. The practice continues to inform these researches by testing TAG through exhibition proposals, (see www.paulryan.co.uk).

Recent publications

Ryan, P. (2007) Rebound. London: Wellcome Institute
Deller, J. and Ryan, P. (2007) Epstein's Liverpool. Liverpool: Tate Liverpool
Newman, A. (ed.) and Ryan, P. (2007). Notes 1 - The Centre for Drawing Project Space London: UAL
Baker, D. and Ryan, P. (2007). No Gorgios. London: Novas Gallery
Pajdic, P. , Pasolini, A. and Ryan, P. (Eds.). (2006) Paranoia

Links

www.paulryan.co.uk

Background statement of research

My PhD research emerges from an interest in the evolving relationship of the book to other media (especially the cinema) in the production of twentieth-century American narratives. My work on 'The Iconography of Malcolm X' encompasses journalism and photojournalism, The Autobiography of Malcolm X (1965) and its manner of illustration in various editions, numerous screenplays and films, and literary and artistic depictions of Malcolm X as a figure of nostalgia and a symbol of blackness.

At present

I am currently focused on images and invocations of the 21 February 1965 assassination of Malcolm X as well as the circulation of the iconography of Malcolm X in Britain.

Links

g.abernethy@ucl.ac.uk

Background statement of research

Having originally studied fine art, I completed an MA in sociology in 2000. My current practised based doctoral research into Gypsy visuality brings together concerns with function, ornament, cultural narrative and artistic practice and can be seen as an intersection between social theory, Gypsy visual art and contemporary art practice. This research has come about as a result of my growing recognition of the lack of any substantial study or documentation of Gypsy and Traveller visual culture in the UK. This lack of awareness of Gypsy visuality is echoed in the seeming lack of what might be termed a 'visible Gypsy', that is to say a notion of Gypsiness that is not reliant upon stereotyped characterisations. These observations, along with my own experience as a member of a Gypsy community, have lead me to investigate the connections between cultural visibility and cultural agency in order to facilitate the enhancement of both.

At present

I am entering the final year of my doctoral research; 'Alfred Gell's Art Nexus and Consequent New Readings and Potential for Artists: Foregrounding Gypsy Visuality'. This Summer I am working on my thesis, producing an artist's book for publication by Onestar Press and preparing a solo show for Berlin (FEINKOST).

Relevant publications

Living Together, Museo de Arte Contemporàneo de Vigo (Marco), Spain. 2009
www.marcovigo.com/content/living-together-estratexias-para-convivencia-0
Ventriloquist, Timothy Taylor Galley, London, UK (curated by Emma Dexter). 2009
www.timothytaylorgallery.com/#
More love hours than can ever be repaid, FEINKOST Gallery, Berlin, Germany. 2009
www.galeriefeinkost.com/feinkost/cms/website.php?id=/en/index/exhibition/lovehours.htm
Hannah beyond the mirror, American Academy in Rome, Italy. 2009
www.aarome.org/
'Breaking Beyond the Local; the function of an exhibition', Third Text, Picturing Gypsies; an interdisciplinary approach to Roma Representation. Vol.22, issue 3, No. 92. May, 2008
www.informaworld.com/smpp/title~db=all~content=g901620623

Links

danromart@yahoo.co.uk
www.galeriefeinkost.com/feinkost/cms/website.php

Phd Research Project

As an artist I work primarily with the body exploring its possibilities through performance, video and installation works. My current research project is based upon the investigation of the corporeal as embedded in traditional African monist conceptions of subjectivity, territory and art. This relation is articulated along the distinction between 'humanized' and 'non-humanized' space, with the body posited as a productive agent in establishing and maintaining the distinction through ritual, custom and art. In turn, the project itself is framed within current postcolonial re-conceptualizations of the 'body-as-presence' and the notion of its 'irreducible differences' as brought forward in the work of Elizabeth Grosz (including specifically her particular reading and employ of Deleuzian 'schizoanalyses' and Irigaray's 'metaphorics of fluidity').

Recent Publications/ Exhibitions

New Media Festival, National Gallery, Dhaka, Bangladesh, 16-27 October 2009 organized and curated by the Britto Arts Trust (Bangladesh)
Dystopia (2009-2010) travelling group exhibition of South African art curated by Elfriede Dreyer (University of Pretoria) and Jacob Lebeko (Assistant Curator, University of South Africa)
The heart of the African City group exhibition as part of 'African Perspectives' September 2009, hosted by the University of Pretoria and curated by MAP ZAR
Senses as mobilizing forces group performance as part of the Slade School of Fine Art's PhD programme at the conference 'Making Sense: for an effective aesthetics' (September, 2009) hosted by the University of Cambridge
The Double Body: being in space (May 2009), group exhibition curated by Anthea Buys and hosted by the Research Center, Visual Identities in Art and Design, FADA, University of Johannesburg
.za: Giovane arte dul Sudafrica (2008), group exhibition of new South African Art curated by Lorenzo Fusi, Kendell Geers Minette Vari, Sue Williamson, Berni Searle and Marlene Dumas and held at the Pallazo delle Papesse, Sienna Italy

Other recent research/ presentations

Talk at Fictions of Difference, a study day accompanying 'A life less ordinary: Performance and Display in South African Art' at the Djanogly Art Galley, Nottingham 31 October 2009
Violence and Happiness, Lecture/ presentation of current research at IWALEWA-HAUS, University of Bayreuth, Germany 27 May 2009

Links

johanthom@hotmail.com
http://www.johanthom.com

Background statement of research

As a poet and as an academic my research has been concerned with how conceptions of politics and philosophy intersect with the material aspects of poetic form in contemporary poetry, on the page and in performance. After completing my undergraduate dissertation at Royal Holloway University of London on the politics of poetic form, studying a range of L=A=N=G=U=A=G=E writers, including the visual work of Susan Howe, Bruce Andrews and Joan Retallack I furthered my research in this area by undertaking an M.A, also at Royal Holloway, in Poetic Practice. During my MA, I worked on developing a practicable poetics from the philosophical ideas set down in Walter Benjamin's Passagen Werk, creating a collage of aesthetic strategies from the psycho-geographical maps of Guy Debord to the photographic work of Sophie Calle, testing my creative practice against a set of political and philosophical research questions raised by an engagement with Benjamin's work. During my MA I also set up Openned, a reading series, website and online publisher of poetry.

At present

I am a Collaborative Doctoral Award student on the AHRC Beyond Text Program. Broadly speaking my research looks at British poetry in performance from 1960-2008. My project is investigating the changing contexts of poetry performance in Britain from the 1960's through to the present day. Making use of the Bob Cobbing Sound Archive and Manuscript Archives at the British Library the project will explore how performance contexts alter both the production and the reception of poetry. More specifically the project aims to examine how the radical London based writers group Writers Forum, begun by the poet Bob Cobbing in 1958, played a particularly important role within British Poetry and the development of poetic performance. My work also plans to make use of the Little Magazines, Alternative Press & Poetry Store Collections at UCL.

I am also continuing with my poetic practice and am working on an Opera with composer Edward Nesbit, the first part of the libretto is due to be published by Yt Communication Press late in 2009. I am also the Assistant Director of the Archive of The Now an online archive for contemporary poetry. I continue to be a co-organiser of Openned and often deliver poetry workshops in schools.

Recent Publications

Introductory sleeve notes for a C.D, The Spoken Word: Bob Cobbing: Early Recordings, compiled by Steve Cleary and Jennifer Cobbing, (London: British Library, 2009)
Constellation: Alice Notley: The Sound Of The Pines, Intercapillary Space, ed. Edmund Hardy and Carol Watts, published as part of Symposium proceedings on the work of Alice Notley at Birkbeck University of London, 2008.
My poetry has been published in Past Simple Issue 6 (2009), Veer Off (2008), Onedit Issue 11 (2008) Stimulus Respond: Time (2008) Skin (2009) Cannibal Spices 1 (2008) Forum Klatch (2009).
I have performed my work at: The Leather Exchange (Crossing the Line 2009), The Foundry (Openned 2008 & Disposable Venus Bits 2009), The Wigmore Hall (Voice works 2008 & 2009), The Horse Hospital (Birkbeck Textmusictextmusic Symposium 2009) and The Poetry Café (La Langoustine Est Morte 2009).

Links

swilley17@aol.com
www.beyondtext.ac.uk
www.openned.com
www.archiveofthenow.com