POLYproject 7: Text.Scores.

Angharad Davies
Redell Olsen
Rhodri Davies
Will Montgomery

Realisations of scores by Davies, Olsen and Davies.

12 October 2015, 7.30pm, free entry.

The Cello Factory, Cornwall Street, London SE1 8TJ (nearest tubes Waterloo, Southwark).

Presented by the Poetics Research Centre, Royal Holloway, University of London.

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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.

Redell Olsen is a poet and writer who publishes both academic and creative work. She is interested in the emerging critical space between these two disciplines as well as in interdisciplinary work between language and the visual arts.  Recent scholarly articles include essays on Frank O’Hara, Susan Howe and the film maker and poet Abigail Child. Her poetry publications include: ‘Film Poems’ (Les Figues, 2014), ‘Punk Faun: a bar rock pastel’ (subpress, 2012), ‘Book of the Fur’ (Rempress, 2000), ‘Secure Portable Space’ (Reality Street, 2004) and the collaboratively edited (with Susan Johanknect) ‘Here Are My Instructions’ (Gefn Press, 2004). From 2006 – 2010 she was the editor of How2 the online journal for modernist and contemporary poetry, poetics and criticism by women. Recent projects have involved texts for performance, film and site-specific collaboration and include: ‘Newe Booke of Copies’ (2009), ‘Bucolic Picnic (or Toile de Jouy Camouflage)’ (2009) and the collaboratively realised ‘The Lost Swimming Pool’ (2010). These texts were published as Film Poems (Les Figues, 2014). In 2014 she took part in the ‘Polar Muse’ exhibition at the Scott Polar Museum. She was one of a group of poets who installed their poems and texts on glass in the musuem. In 2013-14 she was the Judith E. Wilson Lecturer in Poetry at the University of Cambridge.

Rhodri Davies is an improvising harpist who confronts traditional concepts of the harp through his use of preparations, detuned, bowed and e-bowed strings. Influenced by live electronics, music-concrete and electronica he is particularly interested in exploring noise, silence, texture and abstract sound on his acoustic instrument and especially working with musicians who utilize electronics. Regular Groups include: Broken Consort, Cranc, The Sealed Knot and Apartment House. In ad hoc groupings he has played with Christian Marclay, Sachiko M, Toshimaru Nakamura, Martin Tetreault, David Toop, Annette Krebs, Andrea Neumann, Otomo Yoshihide and John Zorn. He also performs and researches contemporary classical music.

Will Montgomery teaches contemporary poetry at Royal Holloway, University of London and makes electronic music, sound art and field recordings. His musical pieces explore aural texture and narrative. He also constructs compositions from sequences of treated or untreated field recordings. He is interested in the acoustics of the built environment, particularly London. He has released work on the Entr’acte, nonvisualobjects, Cathnor and Winds Measure labels.

POLYproject 6 was hosted at the Peckham Pelican on 21 June 2014 as part of the Literary Kitchen Festival, featuring works, readings and performances from Karen Sandhu and Ryan Ormonde, Jennie Cole, Amy Cutler, Carrie Foulkes, Ollie Evans, and Joe Luna.

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Andrea Brady
’s books of poetry include Vacation of a Lifetime (Salt, 2001), Wildfire: A Verse Essay on Obscurity and Illumination (Krupskaya, 2010), Mutability: scripts for infancy (Seagull, 2012), Cut from the Rushes (Reality Street, 2013) and Dompteuse (Bookthug, 2014), as well as a large number of critical essays on early modern writing, and a monograph on English Funerary Elegy in the Seventeenth Century (Palgrave Macmillan, 2006).  She was born in Philadelphia, studied at Columbia and Cambridge Universities and now teaches Renaissance and contemporary literature at Queen Mary University of London.  She is director of the Archive of the Now (www.archiveofthenow.org) and co-publisher of Barque Press (www.barquepress.com).

Augusto Corrieri (UK/Italy) is a performance artist and writer, presenting new choreographic works for theatres and galleries in the UK and Europe. His works playfully deconstruct theatrical presentation and invite audience members to reflect critically on the role of spectacle in our lives. He recently completed a doctorate project at London’s Roehampton University, in collaboration with the AHRC-funded research project Performance Matters. He is currently preparing In place of a show, a series of texts and lecture-works on empty and abandoned theatres.

Simon Parker teaches Politics at the University of York where he is also co-director of the Centre for Urban Research. His books include Cities, Politics and Power (Routledge, 2011) and Urban Theory and the Urban Experience: Encountering the City (Routledge, 2004).  He has written widely on urban culture and modernity and on spatial informatics and patterns of urbanisation. Simon is currently a visiting research associate at the London School of Economics where he is working on a historical study of immigration in London.

Lisa Robertson is known for working in book-length projects. Her subject matter includes political themes, such as gender and nation, as well as the problems of form and genre; she has written works that explore literary forms such as the pastoral, epic, and weather forecast. Her books of poetry include XEclogue (1993); Debbie: An Epic (1997), nominated for a Governor General’s Award; The Weather (2001), which Robertson wrote during her Judith E. Wilson fellowship at Cambridge University; The Men (2006); and R’s Boat (2010). Her architectural essays are collected in Occasional Works and Seven Walks from the Office for Soft Architecture (revised ed. 2010), and she has published a work of prose essays, Nilling (2012). Her long poem, Cinema of the Present, will be published in 2014 by Coach House. Robertson has been the subject of a special issue of Chicago Review and was the Holloway poet-in-residence at the University of California-Berkeley in 2006.  Robertson has taught at the University of California-San Diego, Capilano College, Dartington College of Art, the California College of Art, and the University of Cambridge. She currently teaches at Piet Zwart Institute in Rotterdam on the Masters in Fine Arts Programme and this winter will be Bain Swigget Professor at Princeton.

David Williams Over the past 30 years, David Williams has worked in Australia, the UK and Europe as a university teacher and a performance maker (director, performer, dramaturg, writer) in theatre, dance and spaces in-between. Collaborations have included projects with Pete Brooks’ Insomniac Theatre, Forced Entertainment, Lone Twin, and choreographers Chrissie Parrott, Emilyn Claid, Jane Mason, and Malgven Gerbes/David Brandstaetter. Since 2005, he has been dramaturg with Lone Twin. He has published seven books – on Peter Brook, Ariane Mnouchkine and the Théâtre du Soleil, contemporary directors (with David Bradby), and Lone Twin -and has contributed to many books and journals internationally, including TDR, Performance Research, New Theatre Quarterly, Contemporary Theatre Review, Frakcija (Croatia), and Writings on Dance (Australia). Recent published research relates to Lone Twin’s The Boat Project, animals and/in performance, the ‘ecomafia’ and artists working in relation to waste, and the city of Palermo in Sicily. He has been a contributing editor with the journal Performance Research since its inception in the mid-1990s. David is currently Professor of Performance Practices in the Department of Drama & Theatre at Royal Holloway, University of London.




29-POLYply-CONFESSIONTim Atkins has two books forthcoming: The 600 page PetrarchCollectedAtkins from Crater, and The World’s Furious Song Flows Through My Skirt (A Play) from Stoma. His work has been published in Canada, France, Japan, Mexico, the USA and the UK. A recent member of the visiting faculty at The Jack Kerouac School of Disembodied Poetics in Boulder, Colorado, he is the editor of onedit and is a regular contributor to New York’s Lungfull magazine. Of his work, Lisa Jarnot wrote “Tim Atkins does for translation what Gertrude Stein did for nouns.” He is currently writing a novel about his two daughters, titled On Fathers < On Daughtyrs.  Sections have recently appeared in The Denver Quarterly and in a chapbook from Country Music.

Alison Gibb is a British artist-poet.  She holds a BA (hons) in Fine Art from Goldsmith’s college, a MA in Writing Poetry and a MFA in Creative Writing from Kingston University. Her practice crosses the disciplines of poetry, art, performance, sound and performance writing. Essentially experimental, Alison’s work investigates language through explorations into creative processes, artistic methods of making and critical theories.  Alison’s debut pamphlet, Parallel To Red In Chorus, was published by The Knives, Forks and Spoons Press, Manchester, in 2011.  Her recent publications include:  Kale.i.do.scope, Red Log Blog 2013, Neon and The Interview, Wasafiri Summer 2013. Her poetry CD, Pomegranates In The Oak, was published by zimZalla, Manchester 2012.  She recently performed texts and poetry-sounds-scores at E:Poetry Festival in collaboration with choreographer Elaine Thomas and was resident at The Banff Centre, Canada in February as part of the In(ter)ventions 2013, Literary Arts programme. Her latest pamphlet, Silent Diagrams was published in July 2013 by The Knives, Forks and Spoons Press. Alison is an Emerging Writer in Residence at Kingston University and is currently completing a practice-led PhD at the Department of English, Royal Holloway, University of London.

Jeff Hilson’s publications include stretchers (2006, Reality Street), Bird bird (2009, Landfill) and In The Assarts (2010, Veer Books). He also edited The Reality Street Book of Sonnets (2008, Reality Street). Work from his ongoing sequence “Organ Music” has appeared in VLAK, Open Letter, Painted, spoken, Infinite Editions, Cambridge Literary Review, Dusie and Summer Stock as well as from Crater Press in a small & delightful broadside. He teaches Creative Writing at the University of Roehampton and runs the reading series Xing the Line.

Hazel McMichael writes auto(bio)graphically with chalk, debris, hair, ink, needles, paint, paper, pixels, plaster, thread and voice. Performs and documents writing in books, installations, objects and videos with an aim toward merging the tactile with the textual. Interested in the interdependent relationships between absence and presence – “I” and “you” – private and public – psychoanalysis and body – sense and memory. Graduate from the MA in Poetic Practice at Royal Holloway and sixteen years of psychotherapy. Current projects play with desire, ellipsis and the unsaid.

Tim Parkinson lives in London, writes music, puts on concerts, “Music We’d Like to Hear” since 2005 with John Lely and Markus Trunk, plays ‘any sound producing means’ with James Saunders as “Parkinson Saunders” since 2003, plays with groups from Set Ensemble to Manorexia, his music performed from LA to Tokyo, from Viitasaari to Christchurch, championed by especially Apartment House and Incidental Music and the excellent associated soloists therein, now has 2 Cds out on Edition Wandelweiser, featured in The Ashgate Research Companion to Experimental Music, web presence here www.untitledwebsite.com, here www.youtube.com/untitledparkinson, and here https://soundcloud.com/tim-parkinson-1. Born 7th July 1973, at school 11 years, at university for 3, studied briefly with Kevin Volans in his house in Dublin, went to Ostrava 2001 met Christian Wolff and Alvin Lucier, aside of which never sought any further education except life and self.
“precise, intelligent and simply beautiful music” – Graham McKenzie

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Amy Cutler is a postdoctoral research fellow in the Environmental Humanities at the University of Leeds, with a PhD from the Social and Cultural Geography department at Royal Holloway University of London and previous degrees in English Literature from the University of Oxford. She researches historical geography, the cultural politics of landscape, and modern British poetry (both small press and large press), and also works independently as a curator and film programmer. Her cinema PASSENGERFILMS has won two national awards for its work with cultural geography, and in 2013 she curated the exhibition Time, the deer, is in the wood of Hallaig, on social and environmental memory. Her first chapbook was Nostalgia Forest (Oystercatcher Press, 2013), and her second chapbook, GLOSS, is forthcoming from Corbel Stone Press. She runs Land Diagrams, an online series of cross-disciplinary ‘twinned essays’ in geographical visualisation, and is currently developing research on echo and the sonic imaginaries of the forest.

Sarah Hughes 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, Michael Pisaro, Angharad Davies and Jurg Frey.  She has performed  internationally and has participated in various festivals such as Blurred Edges in Hamburg, NOW Now in Australia, i and e in Dublin, Sounds Like in Canada and Cut and Splice in London.

Kostis Kilymis is an artist focusing on feedback systems and representation in musical performance and artistic practice. His main instrument is the mixing board through which he captures and manipulates electroacoustic phenomena, pre-recorded material and electronically generated sound. He has been an improviser, performer and collaborator -his encounters including Lucio Capece, Nikos Veliotis, Leif Elggren, Sarah Hughes, Stephen Cornford and Phil Julian amongst others. He curates the Organized Music from Thessalonki label. http://www.kostislikymis.com

Andrew Spragg is a poet and critic. He was born in London and lives there currently. His books include The Fleetingest (Red Ceiling Press, 2011), Notes for Fatty Cakes (Anything Anymore Anywhere, 2011), cut out (Dept Press, 2012), To Blart & Kid (Like This Press, 2013) and A Treatise on Disaster (Contraband Books, 2013). His writing was also included in Dear World & Everyone In It: New Poetry in the UK (Bloodaxe, 2013).

James Saunders is a composer with an interest in modularity. He performs in the duo Parkinson Saunders, and with Apartment House. He is Head of the Centre for Musical Research at Bath Spa University.
See www.james-saunders.com for more information.

Artur Vidal is a Spanish-born saxophone player and sound artist who grew up in Paris and currently resides in London. As such, he has performed and recorded extensively in the UK, France and Spain, as well as also being active in Turkey, Mexico or  Czech Republic.  His  work involves field recordings, sound walks, dance and improvisation, and he is an active member of the  improvised music scene, playing and recording with artists and musicians who include Grundik Kasyansky, Jennifer Allum, Ruth Barberan, and Sébastien Branche, with whom he makes up the improvising saxophone duo ‘Relentless’. He has currently completed an MA in Sound Arts at the LCC in London and started in 2013 an Mphil/PhD research  about the notion of silence in Improvised Music and Acoustic Ecology.


Jennie Cole makes poems, objects, videos and things-in-between. She has particular interests in conceptualism, relationships between text, site and audience, video, textual materiality, and artistic practices of shamanism. Her work has appeared at/in things like Shunt, Otoliths, MCBA Book Arts Biennial, In FORM, Streetcake, ArtLacuna Film Festival, Runnymede Festival, and Caesura Gallery.
Jennie has also worked extensively in arts publishing, for organisations including [ space ], King’s Head Theatre, Arts Council England, and the BBC. Sometimes she writes articles on arts & culture.
She lives in London, but you can visit her at jenniecole.org.

Richard Crow is an inter-disciplinary artist with a strong background in experimental audio work, photo based media, live performance and site-specific installation. He utilises sound and noise in a performative way, for its spatial and subjective qualities and above all for its psycho-physical implications for the listener. Over the past two decades his solo and collaborative site-specific installations and performances have consisted of highly conceptualised interventions into  base materiality, investigations of alternative systems of organisation and research into a certain material decadence, most notably with the project The Institution of Rot.

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. Her classical background lead her to further violin study with Charles-Andre Linale in Dusseldorf, Germany and subsequently Howard Davis in London. Her studies with these two eminent violinists inspire her own teaching practice. 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.

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.

Douglas Park, born: 23-01-1972, United Kingdom, visual artist, writer (of literary prose and critical essays, both mostly art connected), sometime exhibition curator (and increasingly all practices and roles combined), currently U.K based and internationally active.

NaoKo TakaHashi was born in Nigata, Japan in 1973 and migrated to the UK in 1992. She studied at the Slade School of Fine Art and Chelsea College of Art and Design in London. She is currently represented by IMT Gallery, London, UK. TakaHashi’s wide-ranging practice incorporates performance, installations, books, films, drawings and sculpture, sometimes in collaboration with other artists and musicians. Her work deals with issues of translation and confusion of identity played out through language, games and truth. She uses experimental and humorous writing to explore spaces, both physical and social, and reveal the ambiguities and inconsistencies of communication and social identity. See http://www.naokotakahashi.com/



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David Dunn is a composer who primarily engages in site-specific interactions or research-oriented activities. Much of his work is focused upon listening strategies and technologies for environmental sound monitoring in both aesthetic and scientific contexts. As a pioneer in the fields of acoustic ecology, bioacoustics, interspecies communication, and scientific sonification, he has composed a body of experimental musical work while contributing to projects as diverse as sensory enhancement of healthcare environments, intervention strategies for forest and agricultural pests, and investigation into the ultrasonic world beyond human hearing.

Will Montgomery teaches contemporary poetry at Royal Holloway, University of London and makes electronic music, sound art and field recordings. His musical pieces explore aural texture and narrative. He also constructs compositions from sequences of treated or untreated field recordings. He is interested in the acoustics of the built environment, particularly London. He has released three full-length CDs: Water Blinks (Selvageflame, 2005); non-collaboration [with Heribert Friedl] (nonvisualobjects, 2008); and Legend [with Brian Marley] (Entr’Acte, 2009). A piece assembled from recordings made on the Heygate estate in south London is released on vinyl by Winds Measure early in 2011 and his realisation of a score by Manfred Werder is out on Cathnor.

Carol Watts lives in London. Her poetry includes Wrack (Reality Street Editions, 2007), chapbooks When blue light falls (Oystercatcher, 2008, 2010), this is red (Torque Press, 2009) and brass, running (Equipage, 2006), and alphabetise, a book of prose chronicles exhibited in the Text Festival in 2005, now an eBook (Intercapillary Editions). A new collection, Occasionals, is forthcoming from Reality Street in 2011. Her recent work also involves mixed media – photography, drawing and collage. Horrid Massacre: A Récit, a sequence told through shopping receipts, is currently online in part at Ekleksographia. In 2009 she worked with choreographer Kate Johnson and film maker Roswitha Chesher on a live voice/dance collaboration, In the Fold at the Laban in London. She co-directs the Birkbeck Centre for Poetics and is director of the Voiceworks project.