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.
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