Emma Conway is a poet whose work addresses the role of languages in shaping identity and the collective encounter, examining the function and power of spoken, written and visual forms of communication. Founded on explorations of the inter-lingual forms of concrete poetry, this practice utilises a variety of media to work through embodied interactions with languages, objects and language-objects. Currently based in London, Emma has an MA in Poetic Practice from Royal Holloway, and is currently working on a practice-based PhD at DeMontfort University in Leicester. For POLYply she will be performing a piece from her ongoing serial project bodies of work, which has included previous performances in London and Tokyo. Ideas of translation inform the process, which centres on the circulation and exchange of language and forms between the works produced. In this series, each text, performance or video functions as its own language-space to be activated and transformed by the audience, producing materials which will form the basis for the next stage of the project.

Ian Davidson is a poet and a critic. He has published four full length collections of poetry and a number of pamphlets, of which ’Into Thick Hair’ is the most recent (Wild Honey 2010). His critical writing explores relationships between literature, spatial theory and mobility. His most recent book is Radical Spaces of Poetry (Palgrave 2010) and he is currently working on his next, Writing, Mobility and Motion. He is Professor of Modern and Contemporary Literature at Northumbria University.

Juha Virtanen received his doctorate from the University of Kent in 2013, where he currently works as an Assistant Lecturer. His academic publications and conference presentations have discussed writers such as Charles Olson, Allen Fisher, Bill Griffiths, and Allen Ginsberg, often in a performance context. In addition, he is currently acting as an editorial assistant for a collection of letters from Ian Hamilton Finlay. His poetry has previously appeared in Halfcircle, Intercapillary Space, SNOW, Veer About, Vile Products and elsewhere.

Jennifer Walshe is a composer, performer and visual artist of whom the Irish Times has said that “without a doubt, hers is the most original compositional voice to emerge in Ireland in the last 20 years”. She studied composition at the Royal Scottish Academy of Music and Drama and at Northwestern University, Chicago, graduating with a doctoral degree in composition in 2002. A winner of the Kranichsteiner Musikpreis at the Internationale Ferienkurse für Neue Musik in Darmstadt, Germany in 2000, she returned to the Ferienkurse in July 2002 to lecture in composition. She was a fellow of the Akademie Schloss Solitude, Stuttgart between 2003 and 2004, and from 2004-05 she lived in Berlin as a guest of the DAAD Berliner Künstlerprogramm. In 2007 she was awarded a grant from the Foundation for Contemporary Arts, New York and in 2008 received the Praetorius Music Prize for Composition by the Niedersächsisches Ministerium für Wissenschaft und Kultur.

Alexander Costello writes:
“I am an artist. I am an idiot.

Vincent Van Gogh said “Just slap anything on when you see a blank canvas staring you in the face like some imbecile. You don’t know how paralyzing that is, that stare of a blank canvas, which says to the painter, ‘You can’t do a thing’. The canvas has an idiotic stare and mesmerizes some painters so much that they turn into idiots themselves. Many painters are afraid in front of the blank canvas, but the blank canvas is afraid of the real, passionate painter who dares and who has broken the spell of `you can’t’ once and for all.”

I am an idiot, according to Van Gogh. Perhaps that’s why I’m not a painter. Indeed I am not a painter. Rather I have been co-habiting with blank canvases in my studio for the last year, thinking about how to approach them and what to do with them. A friend (a painter) gave up painting because she was overwhelmed by the fear of committing to the mark on the canvas, paralysed by the thought that its potential would instantly be dashed, her credibility with it. She knew there would be no going back.

This is my point of departure…

In addition, I was born in London, 1976, studied BA Hons Fine Art (Scuplture) at Middlesex Universtiy (1996-99) and MFA Media at Slade School of Fine Art (1999-2001)”

Rebecca (Becky) Cremin works in process and draws on traditions of live art, fluxus, performance writing and site specific work to construct a hybridity of practice which uses language as an object to expose, to investigate, to locate. She is a founding member of the poetic collective PRESS FREE PRESS.  She is currently undergoing a practice based PhD researching sites of and for poetic performance. Her publications include ‘To be on a page’ in Dear World & Everyone In It: New Poetry in the UK (Bloodaxe), Occupancy in VLAK, (Litteraria Pragensia), she as again : again as she in Viersome 01 and LAY’D both from Veer Books and Cutting Movement from The Knives Forks and Spoons Press. Her poems have featured in Blart, Department, Klatch, Veer About, How2 and beyond. Her performances take place in galleries, pubs, on council estates, in her bedroom, in the street, in the book and on the page.

Ulli Freer lives and works in London , and has been active over a number of years. He is a member of the Veer editorial collective. His work has been published in a several magazines including AND, Curtains,Veer Away, Cleave2. Publications include Blvds (Equipage, Cambs), Sandpoles (Equipage, Cambs), Eye Line (Spanner, Hereford ), Speakbright Leap Password (Salt Books, Cambs), Burner (Veer Books, London ), Recovery (Rot Direct, London).

John James left his native city of Cardiff for Bristol where he first produced the little magazine The Resuscitator with Nick Wayte. Later he moved to Cambridge where he became one of the group closely associated with The English Intelligencer. His recent books include In Romsey Town Equipage 2011 and Cloud Breaking Sun Oystercatcher Press 2012. A Collected Poems appeared from Salt in 2002.

Kai Syng Tan will present On Eating Gum (and the Distasteful Art of My Body).
‘In Autumn 1994, I ate gum in front of the crowd in London. I did it because I could. Because my body was my medium. Because I was in London, where gum was not banned, and because using my body to make art was not banned and not considered as distasteful’. In this presentation, Kai talks about how eating chewing gum was her starting point to use her body as a medium of expression, and how concepts and practices from the Chinese way-of-life of Daoism has helped her to contextualise this ‘body art’.
Trained in London, Chicago, Tokyo and Singapore, Kai is a restlessly peripatetic mutt. The interdisciplinary work of the artist-curator-educator has been shown in more than 45 cities (Biennale of Sydney; Transmediale; ICA London; Guangzhou Triennale), and she has won several awards (San Francisco International Film Festival Merit Award for Experimental Video, Young Artist Award, Most Promising Young Artist Award), grants (three scholarships), and residencies (NIFCA, Japan Foundation). For several years Kai was an advisor in a panel at the Media Development Authority of Singapore, and worked as lecturer and programme leader in an art university and film school, as well as a digital arts consultant. Named ‘one of Singapore’s foremost video artist’ (Dr Eugene Tan 2007), Kai’s permanent video installation is on display in a central subway station in Singapore. Kai is currently a PhD candidate at the Slade.

• Kai’s PhD research, Kaidie’s 1000-Day Trans-Run 12.12.2009 – 09.09.2012 exists in many forms but the website, which has for the past 3 years attracted nearly 900,000 unique visitors, can function as a starting point: <http://www.3rdlifekaidie.com>
• For more information about artist: <http://www.3rdlifekaidie.com/kaisyngtan>
• Exhibition and interview on LEA Online: <http://www.leoalmanac.org/index.php/lea/exhibition/lea_new_media_exhibition_interview_with_kai_syng_tan/>
• Moving images: <http://www.youtube.com/user/kaidie3rdlife>

 

Emma Bennett works with performance, sound, video and text. Her practice proceeds via mistranslations, slip-ups and slippages occurring between verbal and visual modes. In 2012, she staged a number of attempts to speak about birds – at poetry readings, on the radio and via a powerpoint presentation called Slideshow Birdshow. This work has been presented by Arnolfini, Forest Fringe, Whitstable Biennale, Xing the Line, Resonance FM and BBC Radio 3′s The Verb. She is currently undertaking a doctorate at Queen Mary University of London, writing on comedy, figurative language and the voice in contemporary performance.

Sam Hasler is a visual artist based in Cardiff working in performance, installation and writing. Through performances and exhibitions that span the UK he has developed an informal and process driven model of presentation. The artwork and writing emerges from his ongoing struggle with the Christian faith.

Taey Iohe is an artist and researcher based in London, Seoul and Dublin. Her creative work engages with socio-cultural memories and sensations through language and moving images. Her artworks have been exhibited at shows internationally: Berlin (Literature Berlin), Paris (Le Cube), Koln (Experimental Video Arts), Poznan (Art District), San Francisco (UC Berkeley), Rotterdam (BAD Foundation), Ansan (Gyeonggi Museum of Modern Arts), Seoul (Insa Art Space, Arko Museum), and Belfast (Golden Thread Gallery), among others.  She is a PhD Candidate at University College, Dublin, in the programme of Gender, Culture and Identity at the School of English, Drama and Film. She has been nominated for an award for excellence in the Writing the Borders programme at the John Hume Institute for Global Irish Studies, in 2013. Her research examines the relationship between aesthetics and migration through an investigation of cultural translation in the case of a globalised economic and aesthetic space.
http://www.taey.com

Lucy Sheerman was born in Wales and grew up in West Yorkshire. Her pamphlet Rarefied (falling without landing) was published by Oystercatcher in the summer. Her work has recently been included in the Shearsman anthology Infinite Difference: Other Poetries by UK Women Poets, edited by Carrie Etter and The International Egg and Poultry Review (Friends Magazine 2). She also has a commissioned piece of work in Archive of the Now, a digital collection of poets performing their own work, based at Queen Mary University of London. She read and critiqued innovative writing whilst studying at Cambridge with writers such as Rod Mengham, JH Prynne, Stephen Rodefer and Fiona Templeton and has written about a number of contemporary language-focused writers and has a PhD from the University of Cambridge which examines the relationship between language writing and space. She set up the rem press poetry series with Karlien van den Beukel, publishing writers such as Lisa Jarnot, Jennifer Moxley, Drew Milne and Redell Olsen, and went on to run the poetic practice seminar with Redell Olsen and Andrea Brady. She is currently a literature specialist at the Arts Council, working to support the development of writers and new writing through a range of innovative projects. She lives with her partner and four children in Cambridge.

Daniela Cascella is a writer based in London. Her research is focused on listening and sound across a range of publications and curated projects. Her third book En abîme: Listening, Reading, Writing. An Archival Fiction (Zer0 Books, 2012) explores writing sound in relation to memory and landscape, and fictional tropes in criticism. She was contributing editor of Italy’s leading music magazine Blow Up, her essays have been published in books and catalogues internationally, her articles and reviews have appeared in Organised Sound, The Wire, Alias/Il Manifesto, MusicWorks, Contemporary, frieze.com. Before moving to London in 2009, Daniela worked in Italy as a music journalist and curator specialising in sound art.
http://www.danielacascella.com
http://enabime.wordpress.com

Rod Mengham is Reader in Modern English Literature at the University of Cambridge, where he is also Curator of Works of Art at Jesus College. He has written books on Charles Dickens, Emily Bronte, Thomas Hardy and Henry Green, as well as The Descent of Language (1993).  He has edited collections of essays on contemporary fiction, violence and avant-garde art, and the fiction of the 1940s.  He is also editor of the Equipage series of poetry pamphlets and co-editor and co-translator of Altered State: the New Polish Poetry (Arc Publications, 2003) and co-editor of Vanishing Points: New Modernist Poems (Salt, 2005).  He has curated numerous exhibitions, most recently, Jake and Dinos Chapman, In the Realm of the Senseless (Rondo Sztuki, Katowice: 2011).   His own poems have been published under the titles Unsung: New and Selected Poems (Folio/Salt, 1996; 2^nd edition, 2001) and Parleys and Skirmishes with photographs by Marc Atkins (Ars Cameralis, 2007). His most recent publication is Bell Book (Wide Range Chapbooks, 2012).

Marc Atkins is a British artist, photographer, videographer and poet. Marc has lived and worked for many years in London, but has also spend extended periods of time in Rome, Detroit, New York, Warsaw and Paris. His solo photography books include The Teratologists, Liquid City with text by Iain Sinclair, Faces of Mathematics, Thirteen with texts by thirteen writers and Warzsawa with texts by Tadeusz Pióro & Andrzej Sosnowski. His images are also included in several international photography compilations including “The World’s Top Photographers: Nudes”, “Nudes” (RotoVision). His work has been published and reviewed in magazines worldwide. To date his sole poetry book is The Logic of the Stairwell.

Post Works was founded in 2009. The work of Post Works combines built structures and installations, with performances and film. Recent projects and exhibitions include an environment for Daria Martin’s solo exhibition at Milton Keynes Gallery and No Stop, Statue, Machine, screened at the ICA and Victoria and Albert Museum, London. Upcoming projects include Writtle Calling, a temporary radio station to be sited in Essex during September 2012
http://www.post-works.com/projects.html

Kit Poulson writes: “I am interested in conversation, in matter and mutter, in negotiation. A lot of my things have been concerned with an exploration of how we use the static as the recognition and apprehension of vitality.  I work with a variety of media, particularly painting and installation. I frequently collaborate, and this reflects and interest in thought as a performance and a concrete happening.  In these collaborations I have worked at various points with sound, music, sculpture, dance, text.
Recently I have published a book (The Ice Cream Empire, Bookworks).
I was born in 1967 in East Bergholt in Suffolk.”

Sascha Aurora Akhtar is a poet, performer and fiction writer. Most recently she has performed at the Rotterdam International Poetry Festival.
http://www.poetryinternationalweb.net/pi/site/poet/item/21710/Sascha-Aurora-Akhtar
http://idontcallmyselfapoet.wordpress.com/category/poets-a-e/akhtar-sascha-aurora-poets-a-e/
http://vimeo.com/44157045
http://www.saltpublishing.com/writers/profile.php?recordID=211223

Prudence Chamberlain has just completed her first-year of PhD at Royal Holloway, developing a poetics of flippancy to position first person within fourth wave feminism.  She has done readings at the Feminist Cultural Carnival, Centre of Creative Collaboration and The Jam, hosted by Arts Admin.  She recently worked on an adaptation of Titus Groan, which was staged by Blackshaw Theatre Company at the Actors’ Church in Covent Garden this April.

Sharon Kivland is artist and writer working in London and France. Reader in Fine Art at Sheffield Hallam University, she is also a Research Associate of the Centre for Freudian Analysis and Research, London. She has exhibited widely in Europe and North America. Publications include A Case of Hysteria, Book Works, London, 1999. Filigrane Editions, France, published a small book on her work Le bonheur des femmes, a work that began in the perfume departments of the grands magasins of Paris, where she retreated after walking the streets in pursuit of Marx and Freud, in the shadow of Lacan. Her’s is a practice of stupid refinement, trapped in archives, libraries, the arcades, and the intersection of public political action and private subjectivity.
http://www.sharonkivland.com/

Simon Smith has published four collections of poetry, the latest is London Bridge (2010) from Salt.  A pamphlet Gravesend, appeared from Veer Books in 2011, an excerpt from that sequence was published in the US magazine FENCE last month, alongside work by Sean Bonney, Keston Sutherland, Andrea Brady and Vahni Capildeo .  His translation of Catullus is forthcoming from Carcanet.  Recently he has been involved in word/music collaborations with David Herd, the jazz group The-Quartet as well as Matt Wright and Evan Parker.  He lectures on poetry at the University of Kent.

Sue Tompkins was born in Glasgow in 1971, graduated from the Glasgow School of Art in 1994, and is still based in the city. She has had solo exhibitions in numerous venues, including the Showroom, London, in 2007. Tompkins has also performed at institutions and events around the world, notably the Scottish Pavilion at the Venice Biennale in 2005, and Tate Britain in 2006.
http://www.themoderninstitute.com/artists/33/bio

Prudence Chamberlain has just completed her first-year of PhD at Royal Holloway, developing a poetics of flippancy to position first person within fourth wave feminism.  She has done readings at the Feminist Cultural Carnival, Centre of Creative Collaboration and The Jam, hosted by Arts Admin.  She recently worked on an adaptation of Titus Groan, which was staged by Blackshaw Theatre Company at the Actors’ Church in Covent Garden this April.

Becky Cremin hails from Ireland by way of the world and currently lives in London. She has an MA in Poetic Practice from Royal Holloway University of London, and is currently undergoing a practice-led PhD ‘Investigating Contemporary Performance Through Poetic Practices’. She works in process and draws on traditions of live art, fluxus, performance writing and site specific work to construct a hybridity of practice which uses language as an object to expose, to investigate, to locate. She is a founding member of the poetic collective PRESS FREE PRESS, she regularly performs in London and beyond. Publications include LAY’D from Veer and Cutting Movement from The Knives Forks and Spoons Press. Examples of her work can be found at www.performatext.org.

Allen Fisher is a poet, painter, publisher and art historian, lives in Hereford. Over 140 single-authored publications of poetry, graphics and art documentation; contributed to Fluxshoe England West in 1970s; exhibited in many shows from Fluxus Britannica Tate Britain to Lifting from fear King’s Gallery York. Examples of his work are in the Tate Collection, the Living Museum, Iceland and various international private collections. Seven recent books were Proposals: poem-image-commentary; Leans; Confidence in lack, essays; Singularity Stereo, Place; Entanglement; and Gravity. Recent talks were The Æsthetics of the Imperfect Fit with a coda for Joesph Beuys, at Glasfryn Seminars, and Poetic facture and visual art for Plymouth Contemporary Poetry & Source.

Sarah Hughes is an artist and musician currently based in Oxford.  She plays zither and piano in improvising groups and as a founding member of the Set Ensemble, a group of musicians dedicated to the performance of contemporary composition.  She performs with long-term collaborators Patrick Farmer, Daniel Jones and Stephen Cornford and has also performed with musicians such as Antoine Berger, Seijiro Murayama, Dominic Lash and Kostis Kilymis.  She has performed  throughout the UK and Europe, and has participated in various international festivals, such as Blurred Edges in Hamburg and i and e in Dublin. She is the co-founder of Compost and Height, curating projects such as Michael Pisaro’s Only [Harmony Series #17],Manfred Werder, Ben Owen and Patrick Farmer’s  New Works  and the current Water Yam Project.
www.sarahhughesportfolio.blogpost.com
www.compostandheight.com

Kostis Kilymis is an artist focusing on audio feedback systems and representation. His practice touches upon music, installation work and video – developed using a mixture of electronic and acoustic approaches. In performance, he has collaborated with various musicians such as Lucio Capece, Nikos Veliotis, Leif Elggren and Patrick Farmer. He also maintains ongoing projects in Syndromes and Syndromes Sister Overdrive [w/Giannis Kotsonis] and runs the Organized Music from Thessaloniki music label. He has exhibited work in Athens and Oxford, and is currently based in Oxford, UK.
http://www.kostiskilymis.com/

Nisha Ramayya is currently devising a Tantric Poetics, merging Indian philosophies and mythic traditions with contemporary feminist theories and poetics. She is particularly interested in translation, whether from Sanskrit to English, from classical convention to contemporary experiment, from patriarchal tradition to feminist transformation. She is in the second year of a PhD at Royal Holloway under the supervision of Redell Olsen.

Ruth Maclennan’s work is shown internationally in exhibitions and film festivals, and held in public and private collections. Exhibitions include Interspecies, the Arts Catalyst; Central Asian Project, Cornerhouse, and Space, London, touring Central Asia; Migrating Forms and New York Underground Film Festivals; Overawe, Foxy Production, New York; Medicine Now, Wellcome Collection; The Body. The Ruin. Ian Potter Museum, Melbourne; State of Mind, LSE, London. Her work is included in several monographs, including Ghosting, The Role of the Archive within Contemporary Artists’ Film and Video, J. Connarty and J. Lanyon, 2006. Artists’ books include, Re: the archive, the image, and the very dead sheep with Uriel Orlow (London, Double agents: 2004), and Style/Substance—The MaxMara Coat Project with Volker Eichelmann (MaxMara, 1999).

Tracy Ryan began publishing her poems in literary journals in the late 1980s. Her early poem sequence ‘Streams in the Desert’ was joint-winner of the Mattara poetry prize in 1987, and was published in the anthology Kiwi and Emu: An Anthology of Contemporary Poetry by Australian and New Zealand Women(1989). Her first collection of poems, Killing Delilah, appeared in 1994, and she has since published eight further collections. Her collection The Willing Eye won the Western Australian Premier’s Poetry Award in 1999. Ryan has also published three novels, Vamp: a novel (1997), Jazz Tango (2002), and Sweet(2008), and a collection of short stories, Conspiracies (2003).

Sue Tompkins was born in Glasgow in 1971, graduated from the Glasgow School of Art in 1994, and is still based in the city. She has had solo exhibitions in numerous venues, including the Showroom, London, in 2007. Tompkins has also performed at institutions and events around the world, notably the Scottish Pavilion at the Venice Biennale in 2005, and Tate Britain in 2006.  Her work is currently part of the Remote Control exhibition at the Institute of Contemporary Arts (see http://www.ica.org.uk/32389/Exhibitions/Remote-Control.html).

David Herd’s poetry has appeared in various journals including Like Starlings, Mascara and Otoliths. His collections All Just (Carcanet) and Outwith (Bookthug) will be published later this year. His recent essays on poetics and politics have appeared in PN Review, Parallax and Almost Island. He teaches at the University of Kent, where he directs the Centre for Modern Poetry.

Michael Kindellan has written a few chapbooks of poems including Charles Baudelaire (Bad Press, 2005), Word is Born with Reitha Pattison (Arehouse, 2006), Not love (Barque, 2009), Crater 1 (Crater, 2010), and Financial Times (No Press, 2011). Currently he’s working on something called Being in Fleet to be published by Sancho Panza later in 2012. Michael completed his PhD at the University of Sussex in 2010; last year he was a post-doctoral researcher at the Université Paul-Valéry, Montpellier III; at the moment he’s a Teaching Fellow at Sussex; and in the autumn he will take up a two-year Humboldt Foundation Research Fellowship to study the drafts of Pound’s late Cantos.

Sandra Schäfer is an artist, filmmaker and curator of film programs who lives and works in Berlin. In her artistic work, Schäfer deals with themes of representation of gender, urbanity and (post-) colonialism. She is member of the Berlin based group artefakte which is part of Alexandertechnik, a network of social activists, artists and academics, and is also involved in cinenova, a feminist non-profit, charitable organization based in London and dedicated to preserving and distributing films and videos made by women film makers, artists and activist. She is co-curator of the film festival Kabul/Teheran 1979ff: Filmlandschaften, Städte unter Stress und Migration (Kabul/Tehran 1979ff: Film Landscapes, Cities under Stress and Migration) that took place 2003 at the Volksbühne Berlin, and is co-editor of a book with the same title, published in 2006 by b_books, Berlin. She also co-curated the 2007/08 film festival SPLICE IN and lecture program on gender and society in Afghanistan, and in 2009 her book stagings. Kabul, Film & Production of Representation was published in the series metroZones/media at b_books, Berlin. Films/videos/video installations/photographies (selection): on the set of 1978ff (2011), Urban settings and other kinds too (2002-09), stagings (2008), Passing the Rainbow (2007), Traversée de la Mangrove (2006), The Making of a Demonstration (2004), A country’s new dawn (2001), Die unsichtbare Dienstleistung (The invisible services, 2000), Kontaktfreudig, offen und gewandt im Umgang (The joy of communication, open with an elegant manner, 1999), England-Deutschland (1997), Shift (1996), Doch bin ich wirklich (Of course am I real, 1996).

John Sparrow is a poet from London, currently completing a phd on Performances of Technology and Writing. His current practice is concerned with the possibilities of performing with and against generative texts in a live context, from data mining and combinatory algorithms using large amounts of live data to the production of more finely structured templates.  In both cases, he is interested in the possibilities for meaning-making created by generative algorithms, and the challenges that performing such texts in a live setting can produce. John is especially interested in performing texts at the point where the arbitrary decisions of algorithmic processes create tensions with the artifice of formal and syntactic conventions, occupying spaces where the excesses of the coded application’s output are foregrounded on the one hand, and the presence of an apparently authorial voice, history or theme is implied on the other. The authoritative document is therefore a context for this artifice, contributing toward a false sense of stability as a platform for the performances of code. John is currently working on a series of sonnet machines that use Shakespeare’s sonnets as structural templates into which alternative vocabularies can be injected whilst maintaining the sonnet form. He is also working on engines that remix the language from live website data using bridge words in the code. Since this often triggers fusions between the markup and its rendered language, the results become performance challenges in which hypertext markup language and current affairs and headlines become creolised. John currently lives in Phoenix, Arizona with his wife and 2 cats.
http://itchaway.net

The Special Works School is a collective of artists, writers, designers and architects investigating the history of Kensington Gardens as a First World War camouflage training ground. Three representatives from the collective, David Henningham, Ping Henningham, and James Wilkes, will be performing work derived from the group’s research. www.camouflagepark.org

Brian Catling is a sculptor, poet and performance artist, currently working in video and live work. He is professor of fine art at the The Ruskin School of Drawing & Fine Art, University of Oxford.
http://www.briancatling.com

Ian Heames is a poet based in Cambridge.  Books include Bad Flowers (http://cucpress.tumblr.com), Out Of Villon (http://cucpress.tumblr.com) and Gloss To Carriers  (http://plantarchy.us/gloss.html).  His work also appears in short-run booklets and magazines including Axolotl, Cambridge Literary Review, Hi Zero, Holly White, Friends, etc.

Dominic Lash is a double bassist and composer active in improvised and experimental music. Resident in Oxford for a decade, he spent much of 2011 in New York and has recently relocated to Bristol.
http://www.dominiclash.co.uk

+ For documentation of Dominic Lash’s performance, please see:  http://compostandheight.blogspot.co.uk/2012/04/dominic-lash-erogen.html

Sean Bonney‘s recent books are The Commons, Happiness and Four Letters. Most of his work attempts to think through the fault-lines that run between political activism, revolutionary subjectivity and radical poetics. His work has been translated into several languages, and in late 2011 he taught a seminar series on Poetry and Revolution at the University of Cambridge. He was out on the streets during the August riots, and lives in utter poverty in East London.

Jennifer Cooke is a London-based poet whose work can be found online and in print, courtesy of the following publications, among others: Onedit, Great Works, Quid, Punch, Intercapillary Space, Breach, Succour and Archive of the Now. She edited an East Midlands issue of Cleaves journal while living in Leicester two years ago. Her poem-sequence set to music composed by Adam Robinson, Steel Girdered Her Musical: In Several Parts, is the topic of a chapter in the forthcoming book, Britannia’s New Tongues, by David and Christine Kennedy. A book collection of her poetry is coming out this year with Contraband Press, University of Surrey, entitled *not suitable for domestic sublimation. A Lecturer in English at Loughborough University, she has publications on modernism, contemporary poetry, psychoanalysis, and Hélène Cixous. She is author of Legacies in Plague in Literature, Theory and Film (Palgrave, 2009), the editor of the forthcoming essay collection, Scenes of Intimacy: Reading, Writing, and Theorising Contemporary Literature, and is currently writing a monograph entitled Experimentalism, Intimacy, Affect which examines the usage of intimacy as an experimental tactic in texts from modernism to the present. For ‘Expenditure’ she’ll be reading poems from a sequence-in-progress about water, its privatisation, and the ethical questions it raises about its ownership, usage and consumption, and what will happen in the water-scarce globally warmed future.  Water is both a huge natural resource and an intimate part of us: every ‘average sized man’ contains 40 litres of it. The final series of poems will be set to the music Adam Robinson is creating through a variety of water-related processes, including boiling and freezing.

Emily Critchley is an Early Career Researcher who has already earned an international reputation as both a writer and critic, specialising in experimental literature. Her research has been rated at the international level with over fifteen published articles and poetry collections. She has been performing her work across the UK and in the USA since 2000. She has also organised two three-day, international conferences for other experimental writers, at the universities of Cambridge and Greenwich respectively.

Angharad Davies is a violinist based in London. She is an active performer in contemporary, improvisation and experimental music both as a soloist and within ensembles. Since making London her base in 2002 she has developed a specific approach to the violin, extending the sound possibilities of the instrument by attaching and applying objects to the strings or by sounding unexpected parts of the instrument’s body. She is dedicated to exploring and expanding sound production on the violin.

Andrew Spragg is a poet, performer and critic. His first book, The Fleetingest, was published by Red Ceiling Press in May 2011, and a second, Notes for Fatty Cakes, was published October 2011 by Anything Anymore Anywhere. Andrew will be performing with some, though not all, of the Effort:  http://the-effort.co.uk/music.html
He has a blog at www.brokenloop.blogspot.com
He also edits Inf. Ed. www.infiniteeditions.blogspot.com

Jonty Tiplady grew up in Doncaster, South Yorkshire, moving to London, Paris, then Brighton, where he received a PhD on Jacques Derrida. He has published 8 chapbooks of poetry, including Zam Bonk Dip (Barque Press 2007) and At the School of Metaphysics (Fly By Night 2008). He won the 2009 Crashaw Prize and currently lives in London.