A note on: work in some upcoming anthologies

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  • We'll never have Paris, edited by Andrew Gallix for Repeater books - I've new short fiction in this anthology, entitled Laisse Tomber. It's an ode to Patrick Modiano in a sense, fragmented, open, about memories of being unhappy in that city. https://repeaterbooks.com/
     
  • Battlalion, edited by Kirsty Irving and Jon Stone for Sidekick books - Some new artworks about bats and their charming personalities. http://sidekickbooks.com/booklab/
     
  • Wretched Strangers, edited by JT Welsch and Agi Lehoczky for Boiler House Press- This one has just arrived or is about to be, collecting new poems that reflect or represent the experience of those estranged by england's divorce from its own continent. My poem is about the ubiquity of loneliness https://www.boilerhouse.press/wretched-strangers
     
  • Queen Mob’s Teahouse anthology edited by Russell Bennetts and Erik Kennedy for Dostoyevsky Wannabe - I've a visual brut poem in this one, that celebrates the brilliant online journal. https://queenmobs.com/
     
  • Counternarratives: an anthology of Experimental Writing edited by Lee Rourke for Dead Ink - new short fiction in this one. https://deadinkbooks.com/

 

 

 

 

A note on: the 57th Struga Poetry Festival in Macedonia

I'm happy as a pig to have been invited to one of the world's oldest and most prestigious poetry festivals, Struga in Macedonia, starting in a few weeks time. Struga has been going since the early 60s and has had some of my poetry heroes amongst its attendees and its golden wreath award is seen as one of the top things an international poet can receive, with Auden, Brodsky, Ginsberg,  Neruda, Montale, Senghor, Enzensberger, Adonis, Krleža, Amichai, Heaney and Tranströmer all having got it. Obviously I'm not getting that, it's Adam Zagajewski, but I am one of about 25 poets who got invited this year chosen from every country on the planet. Though that puts me in a group of probably around 1500 alumnus poets over the last 50 years, I think only a dozen or so have been English. I know Tom Raworth was one. Ted Hughes. Anyway it's validating in the way that means most to me, that my work is considered outside of any specific Circles, that it has a little bit of run in the world. My friend in Norway told me when he was invited it made the second page of the national newspaper. In the UK, no one will ever know that I have been invited. Not that I'm complaining, it's actually a great gift to me, to be able to do my own thing with poetry and not be fundamentally anonymous, even if I am a bit in my home nation. I sit in a quiet middle space which allows for more room in both directions. I'll get to spend 8 days by Lake Ohrid meeting great poets from all over the planet. Such things are very rare experiences.  

A note on : my Lego concrete poem on Typeroom magazine

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http://www.typeroom.eu/article/twenty-things-you-must-know-about-concrete-and-visual-poetry

I must have missed this brilliant article from Typeroom.eu a few years ago when the amazing New Concrete anthology arrived. It includes my Lego poem that I made on the night of that anthologies launch, live, in front of the audience. It also includes...."13. futura then futura now; Hansjörg Mayers’ publishing projects in the early ‘60s included prints, portfolios, books and the broadside series futura which featured his own work and that of many major practitioners of concrete poetry at the time - all set in the Futura typeface. Antonio Claudio Carvalho has recreated this series of broadsides under the name p.o.w – prisoners opposed to war, featuring The New Concrete contributors Roel Goussey, Chris McCabe, Sophie Herxheimer, Nick-e Melvile, Sam Winston, Simon Barraclough, Tom Jenkins, SJ Fowler, Hansjorg Mayer, Victoria Bean, Augusto de Campos, Peter Finch and Julie Johnstone."

A note on : Michael Jacobsen reviews two of my Poem Brut books

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"Aletta Ocean's Alphabet Empire is the more unreadable of the two. It contains mostly black and white asemic writing with the occasional "Picasso" blue page of asemic script. The art/writing has a storm like quality to it with lightning bolts of asemic writing. Other pages seem to contain illegible asemic animal tracks, and still others remind me of Morse code birch bark dashes. This book's main focus and general theme is the raw erotic power of creation of an excelled asemic mythology. AOAE is presented in a fine hardcover volume by Hesterglock Press and is limited to 40 copies.

I Fear My Best Work Behind Me is the slightly more legible of the two and is more colourful than Aletta. It has a spring-like playfulness and joy bringing qualities that makes me think of an asemic Kenneth Patchen crossed with finger painted art. There are a few more recognizable drolleries such as a deer's head and a crab, and the skulls on the cover art, but most of the text/art is nebulous. Fowler has acknowledged the influence of Christian Dotremont and Henri Michaux in this book, but from these predecessors he has developed his own calligraphic style and signature. The publisher Stranger Press has taken Steven's work and made an admirable codex which I will treasure.

Both works offer an excellent introduction to Steven J. Fowler's personal raw art poetry. This is Poem Brut in its finest form, a term I believed coined by Steven to describe the outsider poetry not created with a computer. It is refreshing to read/hold these handwritten books since they offer a respite and rest from the bloated techno-culture. Asemic books prove that we are not robots; they are the ultimate captcha. It is invigorating to read through these two works in a time when everything is being digitized, to have these two beautiful works of resistance now is essential. Find these books and you will know."

A note on: my selected Scribbling in Cordite magazine article

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Tim Gaze is a visual and avant garde poet whose work I have followed for some years though we've not been in touch. I was therefore happy indeed that his recent article in Australia's Cordite magazine, which covers the gammut for Asemic poetry's entire purpose and history, mentions my selected scribbles, just before Michaux - http://cordite.org.au/essays/punk-calligraphy/ 

"Steven J Fowler’s Selected Scribbling and Scrawling (ZimZalla, 2018) is a collection of what Fowler calls ‘scrawlpoems, scribblepoems, asemic poems, pansemic poems, doodle poems and other messes’. His scribbliness is less extreme than some of the others listed above, and reminds me of handwritten visual poetry by the likes of Carlfriedrich Claus, Robert Corydon and Edgard Braga. Fowler takes handwriting for a run, and sometimes lets it off the leash."

Scribble can be bought from ZimZalla https://zimzalla.co.uk/051-sj-fowler-selected-scribbling-and-scrawling/

A note on : my page with Polimekanos design agency

I've had the pleasure with with the team at Polimekanos design agency on three occasions now, each time through my work with the austrian cultural forum. Three books we've produced together, my content and editorial work with their design, and in that intersection, I've learnt alot from them. On their site now there is a page where all three books are beautifully presented with sample pages and scans. It's well worth a look around their other projects too   http://www.polimekanos.com/steven-j-fowler/

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A note on: writing the intro to Federico Federici's Pithecanthropus Erectus...

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This is a beautiful book of brilliant visual poems by one of Europe's most interesting writers. I was very happy to be asked by Federico to write an introductory text for the book, not so much a traditional lead but a creative text that opens the book. Federico has accurately described his work as a asemic note/sketchbook based on Charles Mingus' Pithecanthropus Erectus masterpiece. I highly recommend you buy it here

https://www.amazon.co.uk/dp/024499904X/

"The work is remarkable precisely because it works in a graceful, familiar space to do often stark and unfamiliar things. Like jazz that absorbs sound. This feels to me a faithful act towards listening and the intention towards possibility and inspiration. The roll, the smudge, the dead signature. The cut in the scrawl. The squig. The line, cards and bled ink. Sounds on paper." - SJ Fowler

and visit http://federicofederici.net/libri/

A note on: reading at Torriano

This was a really pleasant evening, what I wish readings always were - personal, unpretentious, lots of people I hadn't met before. People listened, chatted without snarkiness, were generous. The people who go to Torriano, given it has been going so long, seem to be local and connected to the space and it's past. I was welcomed by Susan Johns, who has run the Torriano with the late John Rety (whose work is legend https://en.wikipedia.org/wiki/John_Rety) since 1982 before meeting old friends like Robert Vas Dias. The readings from the floor were short and sharp, well appreciated as to avoid the oft quag of open mics, and then all the poets gave really engaging recitals, a beneficial contrast between Linda, Lynne and Russell. 

This was what I think will be my last pseudo launch of my new book The Wrestlers and felt fitting, given that I am now a local to the Torriano and intend to return regularly. The night ended with my chewing the ear off of many who had come who lived nearby for decades upon decades and who shared with me a potted history of where I now live. For this alone, this was a memorable, intimate evening

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Published: Bubble comb up on Perverse

Chrissy Williams has recently started a brilliant and innovative new journal / e-mag endeavour entitled Perverse. It's a really engaged, open, direct, clever, complex way of sharing and reading poems, typical of Chrissy's work. I'm very happy to be in the latest issue, 1c, with some grand poets, and to feature a visual work which will be part of my last Poem Brut book, Memoirs of a Hypocrite, due out in November with Hesterglock press. Click the link or sign up below to comb my bubble.

"Perverse 1C - Nelson / Moore / Gross / Fowler / O’Loughlin

Welcome to issue 1C of Perverse! There's a slightly different type of perversity at work in some of these poems than we've seen in the others. I hope you enjoy them. As before, these poems are best read sideways on a phone, or else as usual on a computer screen. You can also save them as a single PDF here if you like. (You'll find the previous micro issues here.)

Contributor Note on ‘The Bubble Comb’:
“'The Bubble Comb' is part of a book of art poetry, Memoirs of a Hypocrite (Hesterglock Press), which is part of a series of publications entitled www.poembrut.com It is about the potential poetic possibilities of handwriting, material, colour and composition meeting the semantic meaning of the written word.”

Please forward this email on to anyone who might like it - they can use the link below to sign up for future issues and updates:
http://tinyletter.com/perverse

Website (with an archive of previous issues):
http://perversepoetry.tumblr.com

 

A note on: The European Poetry Festival returns with a Camarade in October

October Saturday 13th 2018 : The European Camarade : Rich Mix, London
A standalone celebration of collaborative poetry, bringing together over a dozen pairs of European poets to present brand new collaborations as a mid point event between festivals

The European Camarade - October 13th 2018 at Rich Mix, London
35-47 Bethnal Green Rd, London E1 6LA : 7.30pm - Free Entry

Poets from nearly 20 European nations present brand new collaborative performances, in pairs, with works made especially for the night. 

Livia Franchini & Orsolya Fenyvesi / Krišjānis Zeļģis & Nadia de Vries / Serena Braida & Iris Colomb / SJ Fowler & Diamanda Dramm / George Ttoouli & Theodoros Chiotis / Tatiana Faia & Agnieszka Studzinka / Anastasia Mina & Helen Michael / Astra Papachristodoulou & Ellie Tsatsou / Karin Hendersen & Elvire Roberts / Bob Dela & Christian Patracchini / Flora Nicholson & Simona Nastac / Harry Man & James Parkin / Eva Tomkuliakova & TBC / Haris Psarras & TBC

A note on : Illuminations returns october 10th, celebrating Ingeborg Bachmann

Illuminations V : Ingeborg Bachmann on October 10th 2019 at The Austrian Cultural Forum in London

Free Entry but booking suggested = Austrian Cultural Forum London - 28 Rutland Gate, Knightsbridge, London SW7 1PQ, UK

New pieces of literary art and performance responding to the life and work of the great Ingeborg Bachmann.

Featuring Ana Schnabl, Emily Critchley, Han Smith, Karen Leeder, Andrea Capovilla and Diamanda Dramm.

Worse days are coming - Ingeborg Bachmann

A note on: Wrestling as movement for Vital Signs

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I had the pleasure of spending a day at Salford University working with Scott Thurston and Sarie Slee in a rather unique role, as a kind of consultant, sharing wrestling techniques and movement aesthetics to compliment a long term dance/poetry collaboration they have been developing, which will be performed at Moving Words, a festival in Salford this November. I have always tried to keep these two areas of interest - wrestling and poetry - separate, for many reasons, most of all that they are entirely incompatible aside from in the most banal way (a poem about wrestling for example) but in this case the experience was not only really fun and open and playful, but also I think a gift to me as a route into movement as a concept and possible practise. I have used wrestling and martial arts movement in a few collaborations as a way of interrogating the poetry audience's proximity, perhaps most well known would be my work with zuzana husarova, but never considered movement or dance itself something I could explore, even though friends like Scott, Sarah Kelly, Christian Patracchini and others have done so in a really inspiring way. I think this long lovely day, where I shared hours of wrestling ideas, might be a beginning for me, somehow. A note from Scott below: http://www.vital-signs.org/vital-signs-wrestling-with-steven-fowler/

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"Today we were delighted to welcome the prolific writer and artist Steven Fowler, whom Scott has known on the UK poetry scene for many years, having been involved in a number of the extraordinary international collaborative projects that Steven has made his name curating. Steven has the distinction of having practised wrestling since the age of three, and it was this expertise – as well as his knowledge of and commitment to poetry -- that led us to invite him to Salford. As our theme of ‘wrestling truth’ has taken hold, alongside our interest in the Biblical story of Jacob wrestling with the angel in Genesis, we felt it would be valuable to begin exploring the movement language of wrestling itself – and we were not disappointed! Steven took us on an amazing journey through a whole host of techniques including pummelling, underhooks, knee taps, single leg, rock step, shots, wrist grips, the neck tie and Russian tie and each move opened up new ‘movement worlds’, as he described them. In his notes shared with us before the session, Steven described wrestling in the following terms:

Wrestling is essentially the technical development of utilising the human body to manipulate and move another human body. It is an art predicated on using balance for balance destruction, understanding body motion and mechanics in order to nullify these things in your opponent and the development of force, motion and power generation through the body with technique.

It is the consolidating of an a priori act, a means of establishing social dominance through non-lethal combat – one prevalent in children, instinctively, and pre-dominant in the animal kingdom. It is a miniature war without death, culturally.

It is the aspect of non-lethal combat that makes wrestling highly suggestive for our developing poetics of embodied ethical critique, and we were deeply excited to be able to engage with this movement language. We can’t help but feel that it will have a decisive role in the development of our performance. Thank you Steven for all the gifts you brought us today!" 

A note on: Launching TheWrestlers at Burley Fisher bookshop

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I had the pleasure of launching my new book on the kingsland road at the beautiful Burley Fisher bookshop this last week, alongside two friends Vahni Capildeo and Zaffar Kunial, who were also launching books. It was a lovely night, for while I always feel a little sponge when launching my own works, launches tend to be disappointing, inevitably, perhaps, on this occasion it felt more intimate, communal, relaxed. We gave some short readings and enjoyed the long summer evening in a warm and book filled corner of the city. Burley fisher is a grand place, I sincerely recommend anyone visiting the city pops in to find things that havent yet heard of, as i do, and big up to zaffar and vahni's books, both of which are brilliant. I was grateful too to so many friends who showed up in support. www.burleyfisherbooks.com/

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A note on: reading at the legendary Torriano on Sunday July 29th

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I went to the Torriano reading series on Sundays for the first time in 2011, basically as I started writing and reading poetry. For the first time I'll be reading there this July 2018, alongside the excellent Linda Black, Russell Bennetts and Lynne Hjelmgaard, all of whom are united in being local to the Torriano itself. Kentish Town poetry quartet. The reading starts at 7.30pm at 99 Torriano Avenue, Kentish Town, London NW5 2RX

Worth reading about the history https://torrianomeetinghouse.wordpress.com/history/ and the Locale https://torrianomeetinghouse.wordpress.com/where-we-are/

Published: Two articles on football for Versopolis

Two new commissioned articles up for the European Review of Poetry, Culture and stuff, Versopolis. I'm not a huge football brain, but I've always been around it, a few members of my family played for professional clubs youth teams (and then got dropped). It was interesting to get these commissiones - the first an article about how England views itself as a national team as opposed to a series of club supporters (an article I might revise now, given it was written did alright in the world cup and lost their minds) and the second that overviews the world cup itself. 

Team over nation, on England's national team and the club as a barrier to fully fledged national confidence http://www.versopolis.com/column/639/team-over-nation

Russia’s victory off the pitch, my highlights of the world cup 2018 http://www.versopolis.com/panorama/643/russia-s-victory-off-the-pitch

A note on: Richard Marshall's epic review of The Wrestlers

https://www.3ammagazine.com/3am/the-sacrifice-throw-sj-fowlers-the-wrestlers/

the sacrifice throw: sj fowler’s the wrestlers

By Richard Marshall. - - - S.J. Fowler, The Wrestlers, KU Press 2008.

Poetry was born at a very young age, just like me. But there’s a very old consciousness here, one wanting to create his own metaphor for poetry. Torn between realism, wanting to reproduce things as they are – the conversations, asides, fragmentary sights, because they’re strong and necessary as metaphors – and invention, via dislocation or substitution of materials or shape, or contrasts which by themselves take the object as it were away from both itself and the originals, there’s a sense of pushing and pulling both ways from all directions. And everything tends towards yielding materials that are being pushed around like this, and pulled, which are the very strong subjectivities in play but also a subjectivity you and I can have  and share in, so this is push and pull, or fancy dialectics where ‘being clever is not armour’, as Fowler has it early on, where his ‘…  hill of necessity turns to taste’, shows ‘taste’ as just this, you fighting with your other selves, or something like that. Sometimes nothing intrudes on other people’s rearrangements, making substitutions metaphors and nothing something. It’s all wrestling.

And in wrestling we’re conscious of rigid objects falling apart. The whole solid thing – perhaps we’re meant to think of this as society or culture or maybe just poetry or art or more likely just ourselves – it’s grasped as a sense of eerie collapse and sublime disintegration, something that we won’t be able to catch with just words printed out. And then the idea of putting that idea up in print and wondering whether we can actually have a sense of what it all meant. To do that. That too becomes wrestling.

Language has a habit – or maybe it’s its very nature – of reverberating back to its original image or sense, yielding a prejudice towards naturalism that is inevitable. This is where poetry disappears and you see the original, and then remember or experience the tension between the original and this, whatever we’re reading or hearing, and the poetry reappears. It’s very realistic, you can imagine it as a certain language, as English. As being spoken or rubbed. Fowler shows us this, a thisthat’s been imagined in this state of high degree. Rilke was able to identify with the tree. Suzuki with a pencil. Cage with sounds, rocks, plants and people. Fowler with wrestling and poetry. Or better, one as the other, and vice versa.

Fowler’s interested in permutations and parts so that the shape, size and mannerisms – especially of the bodies, that’s what’s intriguing him. How the wrestlers in the relief can be taken from different angles and overlapping interests, and none of the things have a central point or vanishing point or any point even, obviously, but might be put one inside the other like Russian dolls, wondering what we might anticipate and what might result, or has already resulted. Fowler has a real interest in this, like it’s an interface with the soul, a ready-made, a proletarian quality that belies any suggestion that the more money you have the more abstraction can be laid on you. Here the degradation that is luxury isn’t the point. This is an art as mythology, as sexuality and as morality. But mainly it’s desire.

So the poems work with everything and everything we’re left to say afterwards is just to say whether we get a sense of life from them or not. That has to be what can’t be avoided, to ask not whether they’re contained somewhere somehow in our lives but rather, do they settle our lives? What gives them life is ‘life’ not the process of understanding the process, nor the poet working out of her skin to accomplish certain things. But the poems are by-products of an activity and Fowler is remarkable in his ability to understand that, delineate it and have them settle with life, real and expansive and rich. The wrestlers are perfect for him – he takes them so lightly because he’s so serious about them – wrestling that is, not so much the actual art work he’s pivoting off – and so there’s his ability to make the tension work in terms of the subject matter – the repeated tropes of wrestling and wrestling with and wrestling between and so on. Its not myth, or morality driving him though but it is desire. What this does is eliminate composition, form, arrangement, relationship, figure, well, not really, but you see what I mean; there is just this thing he wants to get hold of, stick it at the centre of the page, like an account of an anatomy, of a fight, of a gesture, of a position and not get distracted, flustered or even wonder whether or not that’s a great idea to do or not. Because when the hell did we rely on artists of any stripe to have a great idea? We don’t need their ideas – and Fowler gets this – we need their art. And Fowler here is fresh with desire for the Gaudier-Brzeska but he’s not spooling out ideas. What we’re getting is his desire to be inside and outside the work, happy to be alive now not anywhere else, not in ideas, not in showing us omens and philosophy and theory but, well, just being here in poetry. Or whatever bits of poetry might be left over after. Or to come. .......................................... cont;d

A note on: Mondo for Poetry School - Autumn Term 2018

Mondo Monda Mondu Monde Mondi https://poetryschool.com/courses/mondo-the-global-avant-garde/ Saturday 3 November and Sunday 4 November. Two-day workshop, 10.30am – 4.30pm.

I am pumped to do another weekend course for the Poetry School, I had such a positive experience earlier this year, sharing European work (you can about that here http://www.stevenjfowler.com/poetryschool) and this November, I hope to repeat the trick. Mondo draws on a personal interest of mine, attempting a global vision of what poetry has gone through on the last 70 years or so - how individual cultures, languages, seismic political changes have shaped fundamental modes of writing. Not just content that is, which translates and then sits across nations through that translation, but actually context too. How poetry itself has shifted, and what we can glean from that. I've followed quite a few hundred rabbit holes thanks to friends across the world and the fact this isn't the most popular area of research. I will make this weekend quite open, explorative, using examples from many nations - Nigeria, Japan, Russia, Peru, China, Syria, Canada, etc... - so it won't be built around geography so much as ideas. Come and join me if you please

Mondo: The Global Avant-Garde Face-To-Face Course
Journey through a world of avant-garde poetry over this jam-packed weekend with SJ Fowler.
Explore a world of avant-garde poetry and discover how remarkable explorations in the written word often compliment, rather than antagonise, more formal writing practice. Using examples from Canada to Nigeria, from Syria to Japan, from Latvia to Brazil, the course will focus on methods of original poetry practise that have emanated from some of the 20th centuries most exciting experimental poetry groups of the post-war period. Rooted in making, this course – with the energy, dynamism and invention of the writing it explores – will enrich anyone’s poetry horizons. Mondo is not intended as representative of anything but an idiosyncratic selection of international avant-garde movements, all presented as a gateway to new writing methodologies for contemporary poets. Examples include:

  • Japan: The ASA group to the VOU: Kitasono Katue & more – Logogrammatic poetry: The abstract illustration of language
  • Canada: The Four Horseman: bp Nichol, Paul Dutton & more – Sound poetry: Language as Sound, resonant, non-lingual, vocal.
  • Nigeria: The Mbari Club: Amos Tutuola, John Pepper Clark & more – Experimental mythology: Mythic tropes as paths to the new.
  • Brazil: Noigandres: Haroldo de Campos, Augusto de Campos & more – Concrete poetry: The visuality of the poem as its meaning
  • Syria & Iraq: The Tammūzī Poets: Badr Shākir al-Sayyāb, Adonis & more – The ancient as modern: Free verse as liberation.
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This workshop will be in our new offices at 1 Dock Offices, Surrey Quays Road, Canada Water, SE16 2XU. The venue is a 2-minute walk from Canada Water Station. Take the ‘Lower Road’ exit from the station onto Surrey Quays Road, then walk straight ahead, crossing over Deal Porters Way, and the Dock Offices come up on the left. The door for the school is at the far end of the building.

The Autumn Term is open for booking! Have a read through our fantastic quick guide, which you can find here and below, to see all of the courses - online and face-to-face - we're running this autumn! There really is something for everyone. 

A note on: WormWood film collaboration with Tereza Stehlikova continues

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after a beautiful summer in kensal green cemetery in 2017, tereza stehlikova and i have continued collaborating on our overall longterm project - a film that explores the hidden corners of industrial west london and its oncoming disappearance beneath the old oak development thing. we've been shooting extended scenes in certain locales on the grand union canal and ive been writing texts. the new films, chapters, will be screened later in the year, as the first was at the garden museum and other venues over the last 12 months. http://terezast.com/

Willesden Junction is the same. Goodbye ozone layer.
One bridge, a concentration on small vanishing places.
An example is the bridge over the canal, the grand union canal. that leads to the hythe road estate. they have 300 cctv cameras roaming, 24 hours a day.
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A note on: performing at the opening of How Like a Leaf

I had the pleasure to present a modest performance work at the opening event of a new ambitious interdisciplinary project "How Like a Leaf" which brings together thinkers, artists, academics from a group of uni's in London, including my own, Kingston. The event was chaired by Nick Foxton and I spoke alongside Patricia Phillippy and Tim Chamberlain. It was an intimate, considered, generous few hours, exploring encountering and thinking through human beings and nature, the Anthropocene,  aiming to create new ways to relate to the idea of the natural world. Nick's chairing was really grand, passionate, concise and accessiblem and both Tim and Patricia were engaging. https://www.howlikealeaf.com/

For my performance I first read a new poem, riffing on the phrase How Like a Leaf, switching out the final word of that four words, expressionistically, then I buried some leaves about the room, in my shoe, in the door, under a bottle, then I played a Ween song while blutacking leaves onto the wall into the shape of the word HELP. Then I finished reading another new poem, this time riffing on what might follow the words How Like a Leaf. I was trying to create metaphorical gestures around recitations, to show a concern for concentration, material, space, without at all being cynical or too self-referential. I likely failed but it was an uplifting, honest few hours and the most pleasure came after the presentations, chatting with everyone who came along. Do follow the project as it develops, more info on the site and below.

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🍃 "This TECHNE Conflux will bring together students from across different disciplines - including literary studies, philosophy, visual arts, music, history, classics, dance and theatre - to assess, adapt and develop interdisciplinary approaches to the relationships between art, nature and the world, with the assistance of world-renowned practitioners and theorists. The Conflux has three main aims: To examine the relationship between aesthetic theories of nature and twenty-first century artistic practice. / To consider the ways in which historical accounts of the relationships between art, nature and world might be re-purposed in order to address the contemporary world. / To provide a space, in the form of both events and a final exhibition, in which these conversations between artistic products and aesthetic theories, will reach a wider audience. 🍃 The Conflux will run across two years, from June 2018 - June 2020 and will consist of four themes: Encountering; Writing; Performing; and Thinking."