Posts Tagged ‘the pigeon wing’


In Uncategorized on September 4, 2011 at 10:10 am



Press Free Press were in residence for VerySmallKitchen’s WRITING/EXHIBITION/PUBLICATION at The Pigeon Wing in September- October 2010. In response to VerySmallKitchen’s invitation the following project was devised:



Press free press present A TIME FOR WORK, a month-long durational activity. Within the space, they mark their non-space. This is their office. Two workers will operate under conditions of increased and decreased resistance, navigated by voices communicating from outside the city. They will attempt to map the exhibition through the means at their disposal: by writing, processing and editing a document that exists in constant flux.



Each day of the exhibition a (writer) worker arrived to find an instruction on the office phone. They carried out the task requested, writing by hand, leaving the days production in the office out tray when they left, and taking a previous workers product home to be typed up.

The manuscripts were returned and stapled to the wall during the writer’s next shift. At the time and since VerySmallKitchen wondered what form the work would take apart from the exhibition, whether the mass of writing would be edited into a book, developed into new performances and texts, or…



For now, the material/ writing has found form as on online PDF library that both preserves and (re-)creates the original installation, allowing a jpeg of the original installation to function as shelf and catalogue for a series of PDF files, one for each of 23 work shifts. Enter here.

At this distance, in comparison with the description above, I note press free press now describe the project as follows:



A TIME FOR WORK was a month long writing residency. press free press became a working company. Their place of work an office installed in the Pigeon Wing gallery (view images); two wooden boards constructed to make a cubicle, a paper floor, one chair, an inbox, an outbox, an overflow, a stack of paper, a company phone, a box of writing tools.

This installation was designed to function as a working office; where the office employees came and went in accordance with their rota and the company was bound by a contract (read CONTRACT). press free press functioned as a company investigating the action of writing in duration, writing as a performative action, writing to document a process, writing as publication, publishing as exhibition and performance.



Note what shifts and expands between these two descriptions, perfunctory statements for press release and home page that also show the specific becoming general, description turning documentary and score, how language functions within the prosthetic body of the Press Free Press project.





Perhaps other forms for the writing may be forthcoming, or perhaps this site offers closure. The momentums of texts interact with the practicalities of time and new projects that emerge, and it’s an act of anti-entropic generosity to oneself and others to present these writings as hard copy(able) texts versus exhibition as memory and image-myth.

What one shift worker (Becky Cremin) wrote regarding a book of another (Ryan Ormonde’s The of of the film of The book and The of of the book of The Film, published by The Knives, Forks and Spoons Press, 2011) is also true of the texts here and their presence in/ between locations and times, adding in the edit/curatorial to what is moving:



This repetition is out of time, it shifts and escapes itself to form interesting patterns. Patterns which fold onto each other, which refract and reflect and multiply to only crumble again. I like this. The body is alive with sounds that repeat, re-utter themselves and get re-defined. The possibility for change comes in the form of the word being the same but sounding different or sounding different and being the same. 






Thinking about  A TIME FOR WORK a year later, I remember how the office, large and central in The Pigeon Wing space, could also become almost invisible, how Becky and Ryan could become invisible, working there as other meetings took place nearby, or people made lunch in the gallery kitchen…

I remember B and R had different strategies for negotiating the visibility/ invisibility of their writing/shifts, saying hallo, chatting, or not, but always focussed on the work required rather than small talk; the office/writing as a space apart; how it was odd to realise that someone was there writing, to wonder if one was included in the sense of site the writer was unfolding, and how; to be equally surprised that the writer had suddenly, shift over, gone. The texts do not have to verify.

I remember the TIME FOR WORK office when no worker was there, how people seemed reluctant to enter, although not the gallery cat. Discussing the project prior to the exhibition, there was a plan to have a pathway marked from the office to the front door, beyond which they would not tread. This was deemed unnecessary, exchanged for a ritualising of entry into the space itself, the painted shoes to put on, its repetitive actions…



I’ll stop there, as it seems wrong to be talking about A TIME FOR WORK as a project that happened then and there, when it also didn’t, and now it does and is and will be.

…all these, of course, not about the writing itself, how is it the writing itself, as if the TIME FOR that is now… 





Work tied to the word, its material form, its permutations, as are consciousness and time. Work what makes such propositions apparent. Writing as work has to turn to the materiality of the word, otherwise it might seem scything-sciving-scribing

Work as writing is the physical act of writing, which is why the instruction for shift four ties hope so closely to the hand, first the right and then the left. Materiality is also “keep going.”

In this PDF writing (work) finds an order, a uniformity (every shift 25 pages, not specified in the score) and an anonymity (who wrote edited typed up this one?) (One?). A construction of a shift, a vision of work, tight adherence to frame.

Something happens in this commitment to materiality. We’re (We?) shifting letters/syllables, but there’s an emergent property that seems to demonstrate an ethics and utility, without leaving its constraints. Justify. Clarify.

Text as word shape on the page. Text as sounded. A text could unfold for ever in the need to clarify the differences between these. That could be momentum -say -say -say -say.

A clean writing, too, transparent about its starting point and structures, from which any content must come. Of harm. Risk and.

Word reversal. If only all transformations could be this simple, such mirror hinges puncturing page. This is hopeful. Size of text. Our work, urban spaces, regulations, health and safety, attempts to position ourselves in site, in galleries, in high, in harm, in low, in non…

Adding space between letters available tactic.







In the recollections above I forgot the A TIME FOR WORK office rubbish bin, of thrown away texts, that – paper pieces plucked out – could be inserted into new texts, days, writings, shifts. I also remember at the closing performance long windedly attempting to introduce the project, as its final performance unfolded on its own, fine by itself, its own claim and fiction, such attempts already absorbed into its structure and presentation.

Looking through the A TIME FOR WORK website I propose: Don’t think of what you find here as products of a single place and time (The Pigeon Wing, September-October 2010). Writing was prompted by scores sent from elsewhere, nodes of a network of peoples/ times/ places before and after. Its handwritten notes were transcribed by other hands, keyboards, into other formats; as further editing suggestions and constraints have led to the form of the texts presented here. That stops. This continues.



In Uncategorized on September 28, 2010 at 12:10 am


Press Free Press, A Time for Work



WRITING/ EXHIBITION/ PUBLICATION and THE FESTIVAL OF NEARLY INVISIBLE PUBLISHING concludes on October 3rd with a day of public residencies, performances, installations, and a closing meal.

From 2pm artists working and performing in the space include:

Matt Dalby, who will use voice, recordings and objects to create semi-improvised sound poetry in response to the exhibition and The Pigeon Wing space.

Karen Di Franco, whose CONCRETE RADIO: SCORE FOR ONE & TWO offers “intercedence/interference using short wave recordings with two radios and two transmitters.”

Karen Di Franco, Concrete Radio, 2010



+ from 2-5pm Rachel Lois Clapham in collaboration with Antje Hildebrandt present READERS WANTED:

READERS WANTED to share an intimate (w)reading performance for two. This is a little game, a small exercise in trust and a live cursive encounter. You can decide how long it might take. Two minutes is good though. Bring a + 1 with you if you like.

Please come. I’ll be waiting.


Nb. I am waiting for you
You set off on from your home
Nb. I am waiting for you
You arrive
Nb. I am waiting for you
You find me
Nb. I am waiting for you
You take your shoes off and come inside
Nb. I am no longer waiting
We blindfold one another
I whisper to you
We might touch
We (w)read together
Then we look at what we have made
You leave me
You return home
Nb. I am still waiting for you

Rachel Lois Clapham, Readers Wanted, Colliers Wood, 2010


Artists concluding month long projects over the weekend include Pippa Koszerek’s INOPERATIVE MINUTES, whose documentation of the exhibition in shorthand will conclude with the publication of The Pigeon Wing glossary.

Marianne Holm Hansen will spend the weekend unfolding her installation FOR THE RECORD (A WRITTEN CONVERSATION) in response to the month’s events.

Tamarin Norwood, text performed at The Pigeon Wing, Sep 3rd 2010




At 6pm there will be a NEARLY INVISIBLE MEAL, prepared by Magda Fabiancyk, followed by a programme of readings and performances. Julia Calver, Helen Kaplinsky/ Hammam Aldouri, Tamarin Norwood, and Press Free Press will conclude month long writing projects, alongside performances by Matt Dalby and James Davies.

As Tamarin writes of her own project:

This month Tamarin Norwood has been trying not to write things away. It hasn’t worked. Her writing has persistently generated words, not things.

At the close of WRITING/ EXHIBITION/ PUBLICATION Tamarin will discuss the impossibility of a written form that might leave its object unwritten, considering a spectrum of practices from observing, swallowing and drawing to self-apparent, self-effacing and obliterated writing.


In Uncategorized on September 10, 2010 at 6:22 am


Photo: Matthew MacKisack


WRITING/ EXHIBITION/ PUBLICATION presents Initial and Reprise, an evening of films by Matthew MacKisack, 17 September, at The Pigeon Wing, 7pm.  Matthew writes: 

For Initial and Reprise three works will be presented, each with two parts, one verbal and one audio-visual. Each part explicates and exemplifies the other.

The works concern visions – ecstatic, dreamt, utopian – what has been and what is to be done with them: decoded, co-opted and ejected, what remains is negotiation, that is, initial and reprise.

The evening will also include the second installment of Julia Calver’s month long performance/ writing project. Julia describes the project as follows: 

SUNBEAM and FOREST exist inside an interminable argument which takes place at the level of the forest floor. They argue over who forms the ultimate frame for their ongoing dialogue. This work switches on and off through various iterations as SUNBEAM slips into periods of silence and then ‘reawakens’ in new ideas. Performances throughout the exhibition; texts in the space to take away.

ALSO THIS WEEK: A participatory installation by the Eindhoven based project space Onomatopee, specifically commissioned for WRITING/ EXHIBITION/ PUBLICATION. Freek Lomme described the project, and the work of Onomatopee as follows:

In response to David Berridges request to participate in his research project concerning WRITING/ EXHIBITION/ PUBLICATION, Onomatopee proposed to realize a participatory work; a tablecloth utilizing a grid of information and about some of their projects related to this quest. Books posited upon this cloth enable participants to experience and engage with the parameters involved!

Onomatopee operates in between theory and praxis, in between design and art, combining sense and sensibility. Operating this way, Onomatopee often releases progressive textual communication as part of this play. The sum of their projects parameters wishes to create a vibrant, coherent yet fragmented, overview on such specified fields of designed culture, linking up knowledge and experiences. 

Sunday 19th September, 2-4pm, APHORISM AS ART PRACTICE. An informal conversation, writing session, and sharing of material around the use and practice of aphorism. Participants include David Berridge, Julia Calver, Matthew MacKisack, and Mary Paterson. Participants welcome, but places are limited, so please reserve a place by emailing David on

COMING UP: Phil Baber will be working in WRITING/EXHIBITION/PUBLICATION on 22-24 September, exploring relations of installation, essaying and geology. He will launch the work on the 25th, and also participate in the LemonMelon Publishing Seminar. See here  for the full line up which also includes a performance lecture by seekers of lice, and contributions from James Davies/ If P Then Q and Marit Muenzberg/ LemonMelon.

WRITING/EXHIBITION/PUBLICATION will conclude on Oct 2 & 3 with two days of performances, installations, discussions and residencies. Full details to follow. And…

Some of the projects unfolding throughout the month of WRITING/ EXHIBITION/ PUBLICATION do not feature in a list of public events. Press Free Press’ A TIME FOR WORK will conclude with a performance on the final weekend, which is one part of a project that sees Ryan Ormonde and Becky Cremin working writing-shifts in the gallery every day, in response to instructions received from their collaborator-employers.

Tamarin Norwood is unfolding a new writing project collecting methodologies from other practices and disciplines, some of which is documented on her Homologue blog here:

So I’ve been trying to approach the birds via the smoother detours of other non-writing practices: human practices rather than avian ones, but physical, material, manual practices distinct from writing by their direct interaction with the physical properties of the world. Writing like bottle collecting. Writing like potholing. Writing like ornithology. Writing like repairing drains… manhandled into instructions for writing.

Pippa Koszerek continues to document the event in shorthand; Hammam Aldouri is coming to the space to find out what tasks Helen Kaplinsky has asked him to perform as part of their contractual arrangement (you can read the contract on the gallery wall); and myself and Marit Muenzberg have also been working in the space on our book project BIG LUSH NIP, a pseudonym for the FESTIVAL OF NEARLY INVISIBLE PUBLISHING.

As one of our generative phrases for the book has it: “A book that…. a book could ruin everything…”


In Uncategorized on September 7, 2010 at 1:34 pm


Today and tomorrow are the last chance to see DISPERSALS, an action at the Totalkunst Gallery in Edinburgh that is part of the FESTIVAL OF NEARLY INVISIBLE PUBLISHING. Actually, you might already be too late, if Mirja Koponen’s sticker-poem distribution has gone to plan, and small language pieces have already been taken and dispersed. Or you will encounter the work as it will feature when it arrives at The Pigeon Wing: a sheet testifying to what has been removed and what remains.

This micro-exhibition develops out of THE SHADOW OF A TRAIN project that was a collaboration between myself and Mirja in the summer, in which numerous artists responded to my script for an exhibition, itself unfolding from two paragraphs by the Russian writer Arkadii Dragomoshchenko. As Mirja has written of this new project, which unfolds the dialogue in the context of the FESTIVAL OF NEARLY INVISIBLE PUBLISHING: 

The first dispersal is in the gallery right now. It’s a short event, a burst really, and I think I’m going to send the sheets to you after they have been picked over by the TK audience. I think there is a geographical suggestion here as much as there is an actual dispersal, a belief that the labels with words still will exist there somewhere… an oddly incomplete feeling. 

And earlier, conceiving of the project, Mirja wrote: 

… is simply an attempt to literally disperse the text of ‘The Shadow’. I’d like to print the text of the shadow on sheets of labels ( but as pages of the text as they visually appear in the score) and these are set out  for the audience to peel off and attach to their diaries, notebooks, bags. There is something inherently magical about selecting your favourite words ( or blanks…!), it makes them special in that moment and thereby fixes them onto your life (literally).

This Dispersal turns the work into a series of personal mementoes, gifts, passwords into the exchange   – between the words and the audience – and spreads these out into the space. I like the idea of reversing the process of what we did in june, bringing the words in to the space, and also the idea of materialising the work of the first day of the Shadow in Edinburgh, where the aural experience of the text was the only thing to ‘take with’ from the space. I felt that every line, two lines, combination of lines was potentially meaningful,  in theory a simple thought of course, but  when I was listening to people reading the text in so many different ways when left to their own devices, I was suddenly  quite struck by this.

So, the first Dispersal, a small and quiet piece, makes the Shadow disappear, move on, little by little, perhaps in parts, perhaps entirely.

I would like to do it in the Totalkunst space of course, as the text has materially been there, but it could also travel into The Pigeon Wing through a wormhole in the universe and be dispersed from there. Perhaps there could be somewhat different circumstances for doing this… some sort of augmentary framing of the project. What you think?  More could be written/thought about this approach of course, too. Other ways of dispersing?

The materials and traces of this event, when received, will be added to the unfolding array of material at The Pigeon Wing. Submissions are welcome for the festival. Please see the call for works here.


In Uncategorized on September 4, 2010 at 10:32 am

Márton Koppány, Csend (Silence), from Endgames (Otoliths, 2008)


WRITING/EXHIBITION/PUBLICATION began last night at The Pigeon Wing ,and the opening featured readings by Julia Calver, Tamarin Norwood, myself (reading a text by Helen Kaplinsky) and Press Free Press. Pippa Koszerek was also documenting the event in shorthand. 

All of these artists have projects unfolding throughout the month. Here are short statements by each artist on their project, followed by a coda on the “secret performance” of installing Matt Dalby’s Visual Poem Boxes before last night’s opening (and a statement by Matt on the project):

Julia Calver

SUNBEAM and FOREST exist inside an interminable argument which takes place at the level of the forest floor. They argue over who forms the ultimate frame for their ongoing dialogue. This work switches on and off through various iterations as SUNBEAM slips into periods of silence and then ‘reawakens’ in new ideas. Performances throughout the exhibition; texts in the space to take away.

Pippa Koszerek

Inoperative Minutes. In the two weeks leading up to the opening of WRITING/EXHIBITION/PUBLICATION Pippa Koszerek will intensively study Shorthand from notes passed on to her by secretarial support staff during her recent residency in Dundee. In an act of public/private recording Pippa will act as the sole documenter of the opening reading/performance event taking place at the Pigeon Wing on 3 September. The resulting notes will be displayed in their original form throughout the month for visitors to decode and re-interpret.

During this month Pippa will be concurrently taking up her acting role as Secretary of the Dickens Museum as part of the three month Island Projects exhibition Beyond the Dustheaps where part of her position will include the exploration, study of and adaptation of Dickens journalistic use of Gurney’s Shorthand system.

Considering both secretarial and journalistic uses of shorthand and the latent potential of the space between notes and official records, Pippa will participate in The Festival of Nearly Invisible Publishing, undertaking a three day residency at the Pigeon Wing in the first weekend of October culminating in a presentation of her findings for the approval of Pigeon Wing visitors.

Helen Kaplinsky

The text which I read last night was entitled Script for the Initiate which Helen describes as follows:

Script for the Initiate. A script will be read on the opening night of the exhibition by writer and curator David Berridge. The text has been collaged from multiple press releases for exhibitions seen by the artist over the past year.

Her project throughout the month is a collaboration with Hammam  Aldouri:

The Artists Assistant: Acts of Obedience (Nebulous Readings). Premised upon a contractual agreement, this collaborative work sees the artist employ an assistant who is granted conceptual authority. For the period of the exhibition the assistant will give instructions to the artist. In this case the assistant will task the artist each week to read a given text in gallery space. These readings will not be announced but the scripts will be available to view, alongside the contract which binds the collaboration.

Tamarin Norwood

I want to look at writing in terms of ‘writing into existence’, and specifically in terms of writing not approaching its object but rather pushing it away, and instead approaching a represented version of that object which exists only because the representation writes it into existence. In this context, the prospect of ‘writing live’ presents contradictions I would like to explore both in writing and through a video intervention into the space. By intervening in the ‘liveness’ of the writing residency, I hope to present and contextualize some of the productive contradictions that arise in the practice of live and site-specific writing. 

Press Free Press

Press free press present A TIME FOR WORK, a month-long durational activity.  Within the space, they mark their non-space. This is their office. Two workers will operate under conditions of increased and decreased resistance, navigated by voices communicating from outside the city. They will attempt to map the exhibition through the means at their disposal: by writing, processing and editing a document that exists in constant flux. 

press free press is a poetic collective: finding, constructing and demolishing language following the invitation of language poets and performance artists; writing language that is poetry or performing poetry that is language.  

The rota for A TIME FOR WORK can be seen here


Installing Matt Dalby's Visual Poem Boxes at The Pigeon Wing, Sep 3, 2010


One other “secret performance” that took place yesterday was the installation of Matt Dalby’s Visual Poem Boxes. Matt’s instructions on installing the boxes had indicated:

The boxes should be distributed in small clusters of perhaps no more than three of each  size in locations where they may not be immediately obvious. They should perhaps seem to be incidental to larger works around them.

So when the show was installed I opened the box containing 18 6cm x 6cm boxes and wandered the space deciding where to place them in accordance with this instruction. 


Matt Dalby, Mill 24 Visual Poems, May 2010


A smaller set of 3cm x 3cm boxes are also part of DEPARTMENT OF MICRO-POETICS project at the AC Institute, New York (where the curators of the space will conduct a similar performance of installation) and for this context Matt wrote the following statement about the project:   

The visual poem boxes grew out of a series of visual poems. The visual poem boxes grew out of card constructions. The visual poem boxes grew out of a collection of street cutlery.

The visual poems were created in ink on paper and derived from letter forms. Derived from ascemic writing. Derived from Chinese characters. Derived from Caroline Bergvall’s Plessjør.

Caroline Bergvall’s earlier book Fig provided Matt with a first glimpse of innovative poetry at the beginning of 2008.  His first experiments were in visual poetry and were unsuccessful. Most of the next year was spent concentrating on sound poetry.

Plessjør provided a clue to approaching visual poetry in a more physical way. The boxes originate with an earlier project to construct card forms with otherwise conventional poetry covering the faces.

The construction project was revived as a way to present street cutlery. That is abandoned cutlery collected from the street. 

Critical discussions of work with friends, the work of a friend who had cut a deep slash in the pages of a book led to the decision to transfer the visual poems to boxes, to cut them from one face of each box. 

The boxes are absences and ambiguities. The letter forms, the reasons for choosing the letter forms, the possibility of the letter forms constituting part of a word or utterance, any mark on paper recognizable as print is missing. 

The visual poems are absences. The space inside the boxes is absence. The darkness inside the boxes mimics ink. It is ambiguous if the visual poems are cut or drawn.

There is tension between the handmade and the manufactured. 

The visual poems they come from are made by hand. The boxes are made by hand. The visual poems on the boxes are cut by hand. But it is not apparent how the boxes are made.

The boxes could be produced in volume with existing manufacturing techniques. The slow transformation of the visual poems by copying from sketches to inking from inked version to visual poem box would stop.

Without whom: Helen, Gary, Lou, Graham, Jen.


In Uncategorized on August 15, 2010 at 8:41 am



Márton Koppány, The Secret, from Endgames (Otoliths, 2008)



Opening Event Friday 3rd September 6-9pm.

Exhibition/ reading room open every Fri-Sun 12-5, or by appointment.

See The Pigeon Wing website  for new additions and full program of events.

For their residency at The Pigeon Wing, VerySmallKitchen presents a month long exploration of how writing moves (or not) between the locations of WRITING/ EXHIBITION/ PUBLICATION.  Throughout September The Pigeon Wing will be both work space and exhibition,  with a program of exhibitions, readings, performances, research projects, libraries, and screenings, exploring an abundance of forms and practices at the interface of writing and art practices.  

Notes, essays, scripts, scores, propositions, live writings, scrawls, appropriations, assemblings and dissemblings, accretive structures and/or deletions,  are some of the strategies to be explored by a range of contemporary practitioners from the UK, Hungary, Ireland, the US and elsewhere. Throughout the exhibition, the gallery will also provide a focal point for the THE FESTIVAL OF NEARLY INVISIBLE PUBLISHING, a programme of self-organised events happening throughout the world, evidence of which are submitted to the gallery for archive and display.

The unfolding exhibition is organised around four key areas: WRITING LIVE, THE DEPARTMENT OF MICRO-POETICS, EXHIBITION/ PUBLICATION, and ASSEMBLING (the last presenting a remarkable exhibition-within-an-exhibition from Franticham/ Red Fox Press’s unique archive of rare assembling publications from 1970-2010).  Whilst many artists have created texts and installations specifically for the space, others will produce work that unfolds at each of the live events, whilst other scores and contractual arrangements unfold at times not publicly announced.  As part of Deptford X a final weekend will see artists working in the space leading up to a final performance event and feast. 

See the website for full timetable of events.  As well as opening and closing performance events, the schedule currently includes: Ignite and Reprise: Films by Matthew MacKissack; LemonMelon Publishing Seminar; DISSASSEMBLING CANNON by Phil Baber; Aphorism as Art Practice seminar; conversations with Simon Cutts and Francis van Maele; and month long writing residencies from Press Free Press, Julia Calver, Hammam Aldouri (assistanted by Helen Kaplinsky) and Tamarin Norwood.  

THE PIGEON WING also operates an open house/ reading room on Friday, Saturday and Sunday.  Individuals and groups whose work relates to the research topics of the exhibition are invited to present their work, join us for an informal conversation, come read and consult the library and other materials.  Projects unable to make it the gallery at these times, may submit materials online. Viewing by appointment outside these times. 


Hammam Aldouri

Phil Baber


Julia Calver

Maurice Carlin

Anne Charnock

Rachel Lois Clapham

Emma Cocker

Simon Cutts

Matt Dalby

James Davies

Sonia Dermience

Karen Di Franco

Marianne Holm Hansen

Sarah Jacobs

Joy as Tiresome Vandalism

The Knives, Forks and Spoons Press

Helen Kaplinsky

Mirja Koponen

Márton Koppány

Freek Lomme/ Onomatopee

Matthew MacKisack

Marit Muenzberg/ LemonMelon 

Tamarin Norwood

Pippa Koszerek

Mary Paterson

Press Free Press

Red Fox Press

Colin Sackett

Seekers of Lice 

Mary Yacoob

WRITING/EXHIBITION/PUBLICATION is curated by David Berridge.  The event includes the FESTIVAL OF NEARLY INVISIBLE PUBLISHING, open for submissions throughout the month. 



Performances by Julia Calver, Press Free Press, Helen Kaplinsky, Tamarin Norwood

Fri 17th September  7pm Matthew MacKisack: Initial and Reprise. Three films.  

Sun 19th  September 2pm Aphorism as Art Practice Sunday

Sat 25th September  2pm LemonMelon Publishing Seminar with Marit Muenzberg  and James Davies,  including Phil Baber’s performance DISASSEMBLING CANNON

Sat 2nd- Sun 3rd October LIVE WRITING

Artists in residence in the space throughout the weekend include  Matt Dalby, Rachel Lois Clapham, Marianne Holm Hansen, and Press Free Press.

Sun 3rd October  7pm closing meal/ performance event

Performances include Julia Calver, Matt Dalby, James Davies, Marianne Holm Hansen, Press Free Press, and Helen Kaplinksy. Plus- 



In Uncategorized on June 22, 2010 at 6:52 am

as I came to a high mountain at the end of the forest, where the fox and the hare bid each other good night, there I saw a little house, and before the house a fire was burning, and round about the fire...

How Not to Look at Song of the Data Stream

1. Do not attack it in frenzy. It is a meditative work.

2. Do not expect to be able to ‘figure it out’. If you become acquainted with it, the structure will start to reveal itself. If you have given it a try and then want to know more, all you have to do is ask.

3. Do not look at four or five pages and think you have looked at it. Take a path and follow it through until you have been provided with the opportunity for a break. Then try another path and see where that leads. Continue until you have given it fair shakes. NB. Break points have been provided at short intervals, once you pass the initial pages.

4. Do not skip over all the video links. Look at a few at least. The videos have been deliberately chosen. If a video has become unavailable, then note its ghastly remains and move on. Do not report it as a fault, even if you regard it as such.

5. Do not leap from video to video.  Enjoy the videos you can enjoy. You will turn off the ones you find disagreeable. That is good and sensible.

Above all

6. Do not not look at the Song.


SONG OF THE DATA STREAM is a project by the artist Sarah Jacobs, which can be seen here

Sarah recently issued the following statement about the project:


The online version of  Sarah’s DECIPHERING THE HUMAN CHROMOSOME 16: WE REPORT HERE can be downloaded here. Her artists film IL FAUDRAIT, a meditation on a passage from Le livre des ressemblances 2, by Edmond Jabès,  can be viewed here.  REORDERING, a section of SONG as an artists project for More Milk Yvette: A Journal of the Broken Screen, can be seen here

SONG OF THE DATA STREAM will be part of VerySmallKitchen’s residency at The Pigeon Wing in September. More news on that to follow.