The Dark Would Northern Launch

THE OTHER ROOM presents the Northern launch of THE DARK WOULD Anthology of Language Art, featuring:

MIKE CHAVEZ-DAWSON

LAWRENCE LANE

JO LANGTON

CAROLYN THOMPSON

NIGEL WOOD

DATE: 16TH OCTOBER 2013, 7PM
VENUE: THE CASTLE HOTEL, 66 Oldham Street, Manchester M4 1LE
FREE

Mike Chavez-Dawson is an artist-curator based at Rogue Artists’ Studios, Manchester, UK. He instigated and curated the critically acclaimed shows ‘Unrealised Potential’ and David Shrigley’s solo show entitled ‘HOW ARE YOU FEELING?’ for the Cornerhouse (2012–13). More recently his extraordinary proposal ‘Beyond the Medium, A Rake’s Dream…’ made the 100 favorite proposals for Artangel ‘OPEN’ 2013. He also judged (alongside Laurie Peake, Paul Stolper and Iain Andrews) and curated the neo:art prize 2013.

Laurence Lane is an artist and curator. In June 2000 he co-founded The International 3, a gallery space in city centre Manchester that developed out of the city’s artist-led activity. He has exhibited extensively both nationally and internationally, and as a curator he has commissioned, produced and presented work by many artists involved in a broad range of contemporary art practice.

Jo Langton is the author of ZimZalla object #015, PoeTea, consisting of handmade bags with text instead of tea. Her work has appeared in Department, 3.A.M, Otoliths, and Catechism: Poems For Pussy Riot. She also sub-edited and appeared in The Dark Would language art anthology, and has a MA in Experimental Writing from the University of Salford. She might have a cheeky chapbook before autumn, providing koi carp and terror cats don't steal her soul along the way.

Carolyn Thompson is an artist whose interests lie in developing pre-existing narratives into new adaptations that reference the original in either content or form. She uses found objects, images and printed matter (text, books, maps and diagrams) as source material, in order to evoke a sense of memory, history, nostalgia and humour. The resulting adaptations are new visual versions in the form of artist’s books, collages, drawings and installations that reflect, or work in contrast to, the stories, histories or language of the original ephemera, whilst responding to sculpture, drawing and architecture. http://www.carolynthompson.co.uk/

Nigel Wood is a poet and musician based in Manchester, where he edits and publishes Sunfish, a magazine of exploratory poetics. His chapbook, N.Y.C. Poems, was published by Knives, Forks & Spoons Press in 2011. More recent poetry has been published in Department, Gammag, blankpages and The Red Ceilings.

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www.otherroom.org

The Other Room

The Other Room is putting on an extra, one-off event at The Town Hall Tavern, 20 Tib Lane, Manchester, M2 4JA on Saturday, 18th May, 5 pm start. The readers are derek beaulieu, Tom Jenks and Holly Pester. Details of all three readers are below and previews of each will appear on The Other Room site (http://otherroom.org/) in the coming weeks.

derek beaulieu is an internationally-recognized text artist, conceptual writer and literary critic. He is the author or editor of 15 books, the most recent of which are Writing Surfaces: The Selected Fiction of John Riddell (co-edited with Lori Emerson) and Please, No more poetry: the selected poetry of derek beaulieu (edited by Kit Dobson) both of which are published by Wilfrid Laurier Unversity press. He is the publisher of the acclaimed smallpresses housepress (1997–2004) and no press (2005–present) and is the visual poetry editor at UBUWeb. Beaulieu has exhibited his work across Canada, the United States and Europe and currently teaches at the Alberta College of Art + Design and Mount Royal University.

Tom Jenks co-organises The Other Room and administers the avant objects imprint zimZalla. He has produced and performed four collaborations with Chris McCabe for SJ Fowler’s Camarade project, the most recent of which, I Boris, is a contemporary re-working of Alfred Jarry’s Ubu Roi. Recent publications include a p.o.w. broadside slugs/snails. A 100 poem sequence with accompanying visuals, streak artefacts, is forthcoming from Department Press. He has published two collections with if p then q (A Priori and *) and his third, items, a 1000 fragment verbivocovisual sequence, is being launched at this event. He is a PhD student at Edge Hill University, where he is researching digital technology and innovative poetry.

Holly Pester is a London-based sound poet and researcher. Her work experiments in frequencies of speech, song and articulated noise. She has performed at text, art and poetry events including the Prague MicroFestival (2012); Text Festival (2011); Serpentine Poetry Marathon (2009), and was a writer in residence at this year’s dOCUMENTA 13. She has just completed a practice-base PhD in Sound Poetics at Birkbeck, University of London. Holly Pester’s collection, Hoofs, was released with if p then q press in 2011. More at http://www.hollypester.com/

The Other Room

The Other Room 3rd birthday & launch of The Other Room Anthology 3; would love to see you there. 6th April 2011, The Old Abbey Inn, Manchester, M15 6AY, FREE entry Ken Edwards, Carrie Etter, Alec Finlay & Derek Henderson (live stream) Ken Edwards is the editor and publisher of Reality Street. He has had numerous books and pamphlets published including: Good Science: Poems 1983-1991 (Roof Books, NY, 1992), No Public Language: Selected Poems 1975-1995 (Shearsman Books, 2006), Songbook (Shearsman, 2009). Carrie Etter is an American poet based in the UK. Her first collection, The Tethers, was published by Seren Books in June 2009 and in 2011 Divining for Starters was published by Shearsman. She is the editor of the important Infinite Difference: Other Poetries by UK Women Poets and is a Senior Lecturer in Creative Writing for Bath Spa University. Alec Finlay is an artist, poet & publisher. Born in Scotland in 1966, he now lives in the North-East of England. He is author of countless collections of poetry and has had exhibitions in a wide range of venues including The BALTIC, The Yorkshire Sculpture Park and most recently at Leeds Art Gallery as part of The Northern Art Prize. His publishing includes the pocketbooks series, platform projects, bookscapes, morning star and web-books. More at www.alecfinlay.com Derek Henderson is alive and well in Salt Lake City. He is co-author, with Derek Pollard, of Inconsequentia (BlazeVox). An erasure of Ted Berrigan’s sonnets, Thus &, is out now from if p then q. www.otherroom.org

Events this week

The Other Room
Wednesday 2 February 7pm @ The Old Abbey Inn, 61 Pencroft Way, Manchester,
M15 6AY (Manchester Science Park)
www.otherroom.org

JOSEPH WALTON (aka JOW LINDSAY), POSIE RIDER & STEPHEN EMMERSON
Joseph Walton (aka Jow Lindsay) is a poet, fiction writer, and editor of Sad Press.
Posie Rider is author of the chapbook tristanundisolde from Arthur Shilling Press (2010) and, City Break Weekend Girl forthcoming from Critical Documents (2011).
Stephen Emmerson’s poetry has appeared in numerous magazines and journals including Jacket, Great Works, Cake, Poetry Salzburg Review, Freaklung, Sunfish and Department and Poems found at the scene of a murder (Zim Zalla, 2010).

Islington Mill James St, Salford, M3 5HW
– Thursday 3 February 6pm
Irene Barberis, Australian artist and curator will deliver a talk about her work as part of the “Say Something Series”.

Counting Backwards is a series of text-sound-performance events. It takes place on the first Thursday of alternate months at Fuel Cafe Bar in Withington. The fifth evening in the series takes place on Thursday 3 February 2011 at 7.30pm with performances from Philip Davenport, James Davies, Juxtavoices, and Helen Shanahan.

The Other Room

KEN EDWARDS, NEIL ADDISON, LOUISE WOODCOCK

7pm 1st December 2010

The Old Abbey Inn, 61 Pencroft Way, Manchester, M15 6AY (Manchester Science Park)

Admission is free and there is a well-stocked book shop.

Ken Edwards is the publisher and editor of the small poetry press Reality Street. He has had numerous books and pamphlets published including: Good Science: Poems 1983-1991 (Roof Books, New York City, 1992), No Public Language: Selected Poems 1975-1995 (Shearsman Books, 2006), Songbook (Oystercatcher Press, 2009).

Neil Addison’s latest book Apocapulco is in the new Salt Modern Voices series. His chapbook The Everyday of Irma Kite (2009) was published by Arthur Shilling Press. His blog is flyingpigfoldingchair.blogspot.com

Louise Woodcock is an artist currently residing in Manchester. She works in a diverse range of media including Live Art, Installation, Sound and Fibre. Recent projects include a collaborative performance with Jennifer McDonald at Counting Backwards, a live crochet at Mill 24, a video piece in Unsungfest at Contact Theatre and a talk and performance at University of Huddersfield’s Sonic Arts Forum.

http://www.otherroom.org

The Other Room

Tuesday 19 October 6pm FREE
The International Anthony Burgess Foundation,
The Engine House, Chorlton Mill,
3 Cambridge Street, Manchester M1 5BY.

JEROME ROTHENBERG, ALLEN FISHER, MAGGIE O'SULLIVAN

This Week

Two gigs this week:

The Other Room
Linus Slug, Chris McCabe, Ben Gwilliam
4th August 2010, 7pm

The Old Abbey Inn, Pencroft Way, Manchester, M15 6AY

Ben Gwilliam is a sound artist and improvising musician based in Manchester, England. He works in the cross fields of experimental music, sound art, film and performance. Since the early 2000's he has been working with open reel tape, magnetics and amplified processes in solo and collaborative arrangements.
His work is a curiosity about sound-making/recording and listening, the 'sounds between' things as Installations, performances and appropriations. He has worked, performed and exhibited in Europe and the USA. He will be performing with Philip Davenport.

Chris McCabe’s poetry has featured in a number of magazines including Magma and Poetry Review. His first collection The Hutton Inquiry was published in 2005. He has discussed and read his poetry on BBC World Service, featured a poem on the Oxfam CD Lifelines and performs his work regularly. He currently works as Joint Librarian of The Poetry Library

Linus Slug is an obsessive compulsive disorder + pretend poet of the Putney Heath. In 2009 Slug graduated from the Hilson School of Poetry + is currently employed by the Insect Library in London. Slug runs the small press 'ninerrors' [http://ninerrors.blogspot.com/] and is editor of FREAKLUNG. In June 2010 Slug organised a reading in memory of Barry MacSweeney at Morden Tower to accompany FREAKLUNG Odes [the current issue of the zine]. Work can be seen in Cannibal Spices, Klatch and issue 1 of Cleaves + Freaklung. Chapbooks include ffrass gazette [Arthur Shilling Press], sporangiaphores [yt communication] and a series of pamphlets via ninerrors. Obsessions include Art Garfunkel, anagrams + pseudonyms and the no. 9.

www.otherroom.org

Counting Backwards is a new series of text-sound-performance events. It takes place on the first Thursday of alternate months at Fuel cafe bar in Withington. After a successful launch in June the series returns on Thursday 5 August 2010 with performances from Blood Stereo, Becky Creminand Jennifer McDonald & Louise Woodcock.
Start time is 7:30pm, and entry is free.
Blood Stereo is husband and wife duo Karen Constance and Dylan Nyoukis, each legendary in their own right, with Smack Music 7 and Prick Decay/Decaer Pinga respectively. Mangling sonic forms (musique concrete, sound poetry etc.) and tapes alike, the opportunity to see and hear them in action should not be missed.

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 regularly performs in London and beyond and her first chapbook Cutting Movement is now available from The Knives Forks and Spoons Press.

Jennifer McDonald & Louise Woodcock are Manchester-based artists, and part of a collective artists project called Rare Experiments. Jennifer is better known as a visual artist, and draws inspiration from significant cultural spaces. Louise curated the Lost Language exhibition earlier this year at Kraak gallery, and is one half of improvising noise band Blood Moon.

The Other Room

Hans Ulrich Obrist

HUO: What are the conditions for dialogue in 2009? Is there a way out of this system of isolation?

TT: despite the taphonomic questioning the switchboard encourages apoptosis or an equivalent repetition not all directions are the same. Appropriate or. Recursive may be responsible for the concept of self. Remembering recursion qua: because it involves inserting a past mental state into the present one. As an intransitive relation a loop of preferences, perseveration infinite tuples.

HUO: What do you think of the current moment, in 2009? Jean-Pierre Page has just published Penser l'après crise [Thinking the After-Crisis]. For him, everything must be reinvented. He says that a new world is emerging now in which the attempt to establish a US-led globalization has been aborted.

TT: with the only revolution that mattered overturned in 200 years. Operant conditioning. So you if not simply mandarin the sort of eater who eats everything and nothing of our lowly divisions: [laughs] on food and football central dogma still holds. The conversations are important distractions from a vacuum. We smile we at something bigger we would like to be eaten by. The malign business model that procreate like a tube. Appropriate or. The progress of the subcontract works…

HUO: Can you tell us about it?

TT: reactance tunnelling between the probe and the surface. Autumn the practice of control groups that has changed now. Space the soldier who died for perspective laboured and lost time over the details.

HUO: And has that been published?

TT: in sunk cost fallacy.

HUO: So was the aim to make it generic?

TT: quorum sensing. There guard(,) to act as a witness forms analogues of all the known phases spontaneously appearing observers suffer from the ambiguity of taking ratios of infinite numbers, and [a vocalization akin to laughter] motion inside a given observer’s horizon to continue assuming we are typical a single point without volume.

HUO: In your recent books you discuss your existence and temporality. The homogenizing forces of globalization homogenize time, and vice versa. How does one break with this? Could you discuss the temporality of happiness, as a notion?

TT: transcription factors. Taken from our restricted vantage point without reward of priority, time is the effect of ignorance; maximizing and satisficing strategies on the tip at the tip add credence to the hotspot theory. New questions future asked without compromise to artists or their agency much richer is to than.

HUO: Did you appear on the artists list?

TT: a taxon can't remember poised to revolutionise classification. In a disordered state, looking at a particle gives no information about what others are doing. Autumn has changed now without distracted prospect of extraction.

HUO: So it involved a high degree of self-reflexivity?

TT: as poets say within the limits of experimental accuracy mirror neurons vocal learning when a bird listens.

HUO: Can I ask you one last question? There is one question that I ask in all the interviews and it's a question about un-built roads, about unrealized projects. Could you tell us about your favorite unrealized projects, and by that I mean projects which are utopic, projects which are maybe too big or too small to have been realized, forgotten, self-censored, censored by others?

TT: bridge. The sum, difference and product of narratives could produce such equal brightness higher, greater than about the total image complex. The prototype is the benchmark. At least we died trying the favoured design for the future a success-loaded schedule between breathers and catalysis an accretion of interacting snips between disordered and crystalline states perception and the amygdale, a plethora of shapes beyond simple symmetries to reduce it to something far simpler the beginning of a new infinite family of indivisible structures or crisp uniformed assistance.



(latest poem published in The Other Room Anthology no.2)

The Other Room

The Other Room celebrates its second birthday!

Readers: Ian Davidson, Zoë Skoulding, Matthew Welton

Wednesday 7th April, 7.00 pm

The Old Abbey Inn, 61 Pencroft Way, Manchester, M15 6AY. Admission is free.

Ian Davidson's poetry is gathered in two collections from Shearsman, as well as chapbooks from Spectacular Diseases, West House Books and Oystercatcher. His critical volume Ideas of Space in Contemporary Poetry was published by Palgrave in 2007.

Zoë Skoulding is a poet, writer, musician, performer, and also a lecturer in creative writing. Since 1994 she has edited the poetry magazine Skald, more recently alongside co-editor Ian Davidson with whom she also writes collaboratively. Zoë is editor of Poetry Wales and currently holds an Arts and Humanities Research Council Fellowship (2007-2012) in Bangor's School of English, where she is researching poetry, gender and city space.

Matthew Welton received the Jerwood-Aldeburgh First Collection Prize for The Book of Matthew (Carcanet, 2003), which was a Guardian Book of the Year. He was a Hawthornden Fellow in 2004. Matthew collaborates regularly with the composer Larry Goves, with whom he was awarded a Jerwood Opera Writing Fellowship in 2008. His latest book is We Needed Coffee...

The Other Room 2009-10 Anthology will be available to purchase on the night and from the website thereafter featuring: Tim Atkins, Sean Bonney, Matt Dalby, Tina Darragh, Philip Davenport, Alex Davies, James Davies, Craig Dworkin, Allen Fisher, Michael Haslam, Rob Holloway, P. Inman, Frances Kruk, Holly Pester, Sophie Robinson, Lisa Samuels, Nick Thurston, Tony Trehy & Steve Waling.

Delicacies will be served.

The Other Room

Wednesday, February 3rd 2010, 7.00
The Other Room with Rob Holloway, Holly Pester and Steve Waling

The Old Abbey Inn, Manchester,
Rob Holloway writes in Vauxhall and teaches in Dagenham. His first book PERMIT was published by the US -based poetry collective Subpress in 2009, and a new chapbook MORTMAIN is forthcoming from Stem. From Nov 2002 to March 2004 he hosted the poetry radio show "Up for Air" on Resonance FM (http://resonancefm.com/). In 2004 he launched the poetry CD label Stem (www.stemrecordings.com).

Holly Pester is an experimental sound poet and writer undergoing practice-led research at Birkbeck College in 'Speech and the Archive in Intermedia Poetry'. Her performances texts are experiments in the sound and shape of speech, blending pre-verbal noises with semantic surrealism in an affecting investigation into language transmission. Holly’s work is published on Onedit and in City Scapes, a new anthology of London poets (Penned in the Margins) and Zimzalla object 002. Holly Pester performed at the Serpentine Poetry Marathon in October and will take part in the Bury Text Festival 2011.

Steven Waling was born in Accrington, Lancashire in 1958, and has lived in Manchester since 1980. He won the Smith/Doorstop Pamphlet Competition with his first publication, Riding Shotgun, in 1988, and also that year was a prizewinner in the Lancaster Festival Poetry Competition. He has since published four books, including Calling Myself On The Phone (Smith/Doorstop)

Forthcoming

Giles Goodland will be reading for Vital Signs at the Chapman Gallery, Salford University, at 1pm on Monday 30thNovember. Admission is free.

Giles is the author of, among other books, the excellent Capital

http://www.saltpublishing.com/books/smp/184471263X.htm)

The 13th Other Room takes place Wednesday, 2nd December. After at the usual venue, The Old Abbey Inn, 61 Pencroft Way, Manchester, M15 6AY (on Manchester Science Park). 7 PM start. Details of readers below. More details at www.otherroom.org

SOPHIE ROBINSON is a London poet whose work has appeared in various online magazines including Pilot, How2 and Dusie as well as Jeff Hilson's Reality Street Book Of Sonnets and Voice Recognition: 21 Poets for the 21st Century (Bloodaxe) Her most recent collection is a on Les Figues Press.

NICK THURSTON (b.1982) is a conceptual artist and writer whose primary concerns are the use of languages and the possibilities of languages. Thurston explores modes of reading, in both literary and ‘fine art’ contexts, in such a way that the two coalesce as one praxis of poetics. He is author of "Reading the Remove of Literature" (2006) and "Historia Abscondita (An Index of Joy)" (2007), and co-author of "THE DIE IS CAST" (2009), plus numerous journal articles and artists’ pages. He has performed or exhibited internationally, including presentations at Printed Matter, Inc. (New York), The Text Festival (Bury) and the Van Abbemuseum (Eindhoven); and since 2006 he has served as the Editor of the independent artists’ book publishing imprint information as material (York). His work is to be featured in several forthcoming anthologies, and his next print editions have been specially commissioned by the Laurence Sterne Museum and the French Centre for Artists’ Books.

On Jazz or Comedy

As regulars here will know it is only in recent times that I have begun to do readings. Previously I had taken the view that the work was specifically written for the page, with effects for the readers’ eye and silent voice. When I wrote “Mirror Canon Snips” for Melbourne the idea that it would be performed by moving readers through the installation caused me to become intrigued with the question whether it was possible to make them stumble by making the language of the poem too complex to read while walking. But then when I was persuaded to read at the Other Room, I discovered that there were things that I could learn from performing the poems which weren’t evident in silence. There were also dramatic effects that I discovered that were more for the entertainment of the audience – particularly the way Reykjavik opens when you read it. I remember recording the first part of the performance for me to review any insights in that reading, having not anticipated that it was also videoed by the Other Room and then put up on the website. While the things I needed to learn were captured by both recordings, it occurred to me afterwards that the movement of unfolding in Reykjavik or the reason why I wrote the poem “Lassitude” which informs the aural understanding of it would no longer be unexpected to future audiences. Around the time, I recall a comedian commenting that, while it paid much better than live performance, TV was very consuming of material. A routine on television could only be used once, with thereafter audiences knowing the jokes. Obviously having films and recordings online is an artistic resource, part of the poetic dialogue and an extension of a poetry readings meagre audience, but is there a down side? At Ron Silliman’s afternoon lecture at Birkbeck when he was over for the Text Festival, I asked him about this issue: whether each performance captured and broadcast online was in anyway like the consumption of the comedian’s material. Ron’s view was that the poetry performance is more like a jazz improvisation, with each reading being a fresh interpretation of the material.

I think this is probably true but the Oxjam reading last Sunday (again recorded) I was looking for something else again. I started the reading with “Doubt” from 50 Heads. Then the sections from the new book “Space The Soldier Who Died For Perspective”. For this reading I wasn’t interested in comedy or jazz.

I have referenced before William Carlos Williams analogy that writing (art) is like bridge building – the artist constructs the artwork cross a stream or mountain gorge, with the purpose of crossing: “Don’t blush to write a poem, stand up to it, provided it is a structure, a structure built upon your own ground to assert it, your ground where you stand on your own feet, in every man’s despite”. Expanding on his metaphor, he goes on to the next barrier to continue his journey, with the experience of previous bridges informing each subsequent solution. The function is the crossing. As Picasso said, it is for epigones coming after to make it look better. It is the job of critics to describe the bridge. It is for governmental hierarchies of mediation to erect signs and health & safety barriers to make sure the bridge or even obstacle of the stream are not perceived as worth crossing.

Often, especially if an artist’s work is not easy to fathom, I ask myself: what question (what gorge) is this artist trying to answer(bridge)? It is obvious I think for instance what question the Language Moment attempts to address. Although Sue says I shouldn’t say anything about the north west winner of the Olympiad commission – the Projected Cloud by Anthony McCall, because it will sound like sour-grapes, when you look at it from this perspective its question would seem not really worth asking. Most of its substance would appear to be engineering and technical – how the cloud is generated, how the projections work on the cloud, how it will ever exist in the windy environment of the Mersey estuary – not artistic. If the question context is the public realm question of the Monument, the bankrupt refuge of UK public art in the celebration of scale (Angel of the North, B of the Bang, Mark Wallinger’s White Horse, etc), the question to which all these refer has already been answered with more conceptual rigour by Lawrence Weiner with ‘AS FAR AS THE EYE CAN SEE’. Coincidentally, having been brought up on the ‘Cheshire plain’ where presumably you will be able to see the new work, I can’t see how it can better than the steam columns of Fiddler’s Ferry Power Station (my Dad worked on that construction). This landscape was actually the inspiration for my poem “Yggdrasill” in 50 Heads. Maybe that was my answer to the question – deeper than McCall’s column will be, but depth wasn’t what the Olympics wanted obviously, maybe they wanted comedy.

Anyway, I digress. My reading of “Space The Soldier Who Died For Perspective” had a different function. By the time I came to read 50 Heads and Reykjavik I had lived with them for about 2-3 years, whereas Soldier was only finished in June. While some sections of it date back to exhibition installations around the world, the bringing them together, the re-structuring, the integration as a whole work are still as new to me as the audience who heard me read. A while back there was an argument going round that the radical understanding of the reader/audience was the most important aspect of contemporary poetic development. This is of course bollocks. It is the radical understanding of the writer that is most important. So the reading wasn’t a comedy or jazz, it was a test installation, it was stretching to grasp something spatial in the language - and so I wonder whether that is something that needs to be recorded.

The Other Room

most perfect days there is nothing horizon
in the protocol we employ
Unwent, urelements we are not, with our grey the same as theirs



THE OTHER ROOM AT OXJAM

Sunday, 25th October, 13:45 start
Apotheca, 17 Thomas Street, Northern Quarter, Manchester M4 1FS.

The Other Room is organising an extra event as part of the Oxjam festival. For this event only, The Other Room will be at Apotheca, 17 Thomas Street, Northern Quarter, Manchester M4 1FS. Entry is free, but a donation to Oxjam is suggested. Read more about Oxjam at http://www.oxjammanchester.org. I will be reading including extracts from Space The Soldier Who Died For Perspective (also above).
Hope to see you there. Also reading:

STUART CALTON has published four books of poems: three with Barque Press, and one on his own press, Fenland Hi-Brow. His fifth, Three Reveries, is awaiting publication. He is also a musician who records and performs Free Improvisation and Musique Concrète under the nom de Dictaphone T.H.F. Drenching.

JAMES DAVIES has two short e-collections: The Manual Handling Process (Beard of Bees) and Acronyms (onedit). He has a collection Plants due from Reality Street in 2012. He is one half of the poetry/photography duo Joy as Tiresome Vandalism who have a collection aRb (if p then q) and are currently working on Absolute Elsewhere found in progress at www.joyastiresomevandalism.wordpress.com. In addition he is editor of if p then q and one of the organisers of The Other Room.

The Other Room

Wednesday 7th October, 7.00pm
CRAIG DWORKIN (video presentation) and MICHAEL HASLAM.

Old Abbey Inn, 61 Pencroft Way, on Manchester Science Park, M15 6AY, UK

Admission is free.

www.otherroom.org

The Other Room

Sean Bonney & Frances Kruk just before their great readings at the Other Room last night - no doubt the film of the event will be online soon.

The Other Room

Wednesday 5th August 7.00pm

SEAN BONNEY & FRANCES KRUK

Old Abbey Inn, 61 Pencroft Way, on Manchester Science Park, M15 6AY, UK.

Admission free.

The Other Room

The Other Room