report on Projectivisms symposium in Journal of British and Irish Innovative Poetry

A report by Andrew Jeffrey on the symposium Projectivisms:Way-making the Contemporary Projective, University of Cardiff, May 2018 mentions my performance there of ‘threaded insert’. It is published in the Journal of British and Irish Innovative Poetry 10(1).

The discussion of the relationship between who is in charge in the interaction between a human being and digital technology was then exemplified by Mark Leahy’s (Independent Scholar) ‘“The threshing floor of the dance” A performance of threaded insert’. Leahy appeared in white gloves and bow tie in the centre of the room. He then put in some ear-phones and began making statements, ‘Agape, we perform’, moving forward a set number of steps, changing direction, moving again, making statements, ‘a portion of depressed hair’, describing the room, spelling out words, walking forward, spelling out words accompanied by a basic sign language, walking out of the fire escape, re-appearing through a different door. The performance with variations and repetitions lasted for twenty minutes. It turns out that Leahy was responding to various instructions played at random from MP3 files. All the contents derived from guides for ‘proper’ speech, conduct and bodily deportment. It made me think that Leahy was showing “what he is as a creature of nature (with certain instructions to carry out)”.

Jeffrey, A., (2018). Projectivisms >> Symposium Way-making the Contemporary Projective, University of Cardiff, 8th–9th May 2018. Journal of British and Irish Innovative Poetry. 10(1), p.10. DOI: http://doi.org/10.16995/biip.82

article in Performance Research 23.2: On Writing and Performance

I have an essay ‘Disrupting the Market in Echoes: Voice, body and technology in poetry and performance by Hannah Weiner and Holly Pester’ in a recent issue of Performance Research published by Taylor & Francis. The issue, On Writing and Performance, is edited by Ric Allsopp and Julieanna Preston.

This essay considers questions of writing in its relation to voice, technology and performance through a reading of voiced and printed work by Hannah Weiner and Holly Pester. The focus is on two works, Holly Pester’s ‘Buddy Holly on my Answer Machine’ published in Hoofs (2011), from if p then q books, and ‘RJ Romeo & Juliet’ from Hannah Weiner’s Code Poems: From the INTERNATIONAL CODE OF SIGNALS for the use of all nations, published in 1982. 

Link to the Journal online: doi.org/10.1080/13528165.2018.1464761

 

new article in Sculptorvox Vol. 1, January 2018

I have an article just out in the first volume of a new sculpture-focused magazine, Sculptorvox. The title of this first volume is Geometry of Nothing. The article ‘A Curiosity of Nothings: on the Not-there-ness of Andrew Kearney’s Sculptural Installations’ discusses Andrew Kearney‘s sculptural works, with a particular concentration on his installation at the Irish Cultural Centre, Paris in 2017:

Andrew Kearney, ‘Mechanism’, Centre Culturel Irlandais, Paris; 20 April to 18 June 2017.

The magazine is available from  Sculptorvox.

 

 

‘subject to gesture’ at Gramophone Ray Gun 6, Liverpool, April 27

I will present a new work, a collaboration with composer/performer Benjamin D. Duvall as part of Gramophone Ray Gun 6 at Everyman Bistro in Liverpool on Thursday April 27th. The event is organised by Mark Greenwood, and will also feature work from Patricia Farrell and from James Davies.

The collaboration, ‘subject to gesture’, combines live reading and manipulation of the voice feed via a mixer and two treated electric guitars, a drum and other objects. Dock Road Press will publish a pamphlet version of the text and a diagram of the audio set up.

The note to the text reads:

‘Subject to Gesture’ was written in part using found material from a number of sources and being open to the political and cultural mood of Spring 2017. It exists alongside a collaborative work for performance developed between writer Mark Leahy and composer/performer Benjamin D. Duvall. The pair were introduced by Mark Greenwood, who suggested that they might work together and offered them a slot in the Gramophone Ray Gun series at The Bistro, Liverpool Everyman. The live work was premiered at Gramophone Ray Gun, on Thursday 27th April 2017.