Why all this now?
How else to communicate with...
Emanuel Swedenborg’s Dream Diary | Unica Zurn’s anagrams | Anthony Mannix’s Erotomania | Hugo Ball’s Elephant Caravan | Leonora Carrington’s maps | William Burroughs’ Cut-ups/fold-ins | Oulipian constraints | Tom Phillips' A Humument | Adolf Wolfli cosmologies | Henry Darger’s Vivian sisters | Meret Oppenheim’s fur spoon | The Australian and New Zealand Formulary from 1934 | Hopkins' inscape | Ross Gibson’s Life After Wartime | John Cage's instructions | Michelle's lion | Francis Webb's yellow hammer | Shklovsky's Defamiliarisation | D&G's nomad space | Mallarme's dice | Anne Carson’s historical reimaginings | Samuel Wagon Watson's mosquitoes | Dransfield's accident | Antonin Artaud's Body without Organs | Pythagoras’ Transmigration
The written | spoken word broken into Concrete Poetry | Sound Poetry - word into guttural | letter into shape | Film Font backlit by LED lights speaking constellations.
Needle | paper | thread.
Collaboration: vocal experimentation feeding on film making | Unfed | The Useful Box | Obsidian | Pharmakon | live musicians improvising with invented instruments: The Horse | The Tupperware Waveform Generator | The Blind-eye Organ that sounded as it drew.
A WWII bunker chamber that birthed Owen: that deep concrete resonance giving the impression of a vaulted cathedral buried underground like a vibrating tomb. Here even the generator couldn’t power the projector and the walls were black traps for our tongues as cold as iron in that midnight sea storm.
An archive archiving itself into existence
in the dark crack between creativity and constraint.