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Not the Whole Picture
Full text linkA commissioned prose poem for a themed anthology on the idea of Richochet, requested by the editors
Imperfect Index Vol 2 Moth Design For Life & Death
Full text linkHow can we talk about death, dying and grief in the digital realm?
The emotionalisation of graphic symbols to express our inner world of feelings to the outside world.
Initiated after a conversation following the massacre at Utøya, MOTH
reflected upon the lack of suitable visual symbols used to articulate
universal sympathy in the context of death and bereavement. Most of the social media messages posted in response to the massacre used
the �. This prompted inspiring questions about the lack of
appropriate and meaningful visual signifiers of mortality and highlighted
our inability to discuss the complexities of death as freely as we discuss love.
The Paper discusses the complexities of creating a collective digital vocabulary of pictorial signs which articulate and communicate the nuances of death, dying and grief. Utilising the emotionalisation of graphic symbols to express our inner world of feelings to the outside world.
Lexicons and systems of pictorial signs represent democratisation of knowledge through [cultural] participation1. Overcoming linguistic barriers and reflecting divergent socio-cultural influences which are constantly being re-negotiated. Helping us to navigate space and each other. Functioning or engaging as universal forms of communication [rejecting or reinforcing stereotypes?]. Or as personal expressions and poetic forms of visual language. To re-imagine how we talk about death, dying and grief in the digital realm.
The work is practice-based and practice-led research to critically reflect on the role of design as it relates to death, dying and mourning [on both the individual, community, and broader cultural levels]. With a focus on semiotics, object ontology and material culture. Design is positioned as both discursive and speculative
Musical Necromancy
Full text linkBook review of Two-Headed Doctor. Listening For Ghosts in Dr. John's Gris-gris, David Toop (Strange Attractor Press )and Folk Music. A Bob Dylan Biography in Seven Songs, Greil Marcus (Yale University Press
untitled review of Cut Up, Richard Skinner (Vanguard Editions) and Dream Into Play, Richard Skinner (Poetry Salzburg)
Full text linkA book review of two poetry books which use of collage and processual writing
The Archive in 360 with Volumetric Capture
Full text linkThis article reflects on the emergence of volumetric capture as a means to render human experience in three dimensions and how its applications in medicine, performance, and digital archiving are reshaping our relationship to documentation and embodiment. From 360-degree imagery to the advanced rendering techniques of Gaussian Splatting, these tools raise questions about the ethics of visualisation and the power to represent. This article draws on the work of scholars such as Taylor, Schneider, Kenderdine, Holling, and DeNora to challenge the notion of archives as neutral or static repositories and asks: in an age where our movements can be stored and repurposed, how do we navigate the tension between visibility and consent, between preservation and autonomy
The Camel That Broke Progrock's Back
Full text linkreview of Mirage and MoonMadness remasters by Camel (Cherry Red CDs
Engaging Diverse Cohorts in Music Production: Insights from POST—
No full textPOST— is an experimental electronic music project operating primarily from Falmouth University in the UK. It facilitates collective music-making for instrumental players, producers, and technologists. The aim of the project is for students to develop an embodied, haptic relationship with music technology and enhance their skills in listening and presence. By rejecting screen-based technology in favour of hardware instruments, POST— challenges individualised production workflows. Instead, it prioritises physicality and gesture, moving beyond quantisation and automation to cultivate a performance-led, real approach to electronic music production.
Designed to accommodate students of diverse musical backgrounds and experience levels, POST— offers an inclusive, non-hierarchical learning environment. This aligns with broader critiques of formalist music education, as explored by Scruton (1997), Regelski (2004), Woodford (2005), and Allsup (2010), who highlight the elitism and rigidity of traditional models. In contrast, POST— promotes exploratory, participatory learning, ensuring that all students —regardless of background or technical ability—can meaningfully contribute to the group. Through its focus on performance-led production and group agency, POST— offers an alternative pedagogy for music education, redefining how students interact with technology. This chapter details the accessible teaching strategies developed for the project and examines the co-creation and production of the first POST— album
Domestic Scientist & Artist: Bobby Baker's Portrayals of Feminist Selfhood
Full text linkThe iconic Bobby Baker discusses her radical journey, beginning from a challenging position in the male-dominated art landscape in the UK
Ghosts and the Gothic
No full textGhosts have long been connected with the Gothic, but until now there has not been a book dedicated to the subject. This collection examines ghostly presences (and absences) in both classic and lesser-known Gothic texts from the beginning of the genre to the present in a global context. Arguing that the undead, in the form of ghosts, are intrinsic to the Gothic mode, essays in the collection question the place of manifested spirits. The Gothic has always been 'political', and essays in this collection examine some of the most relevant issues facing us today: from the destruction of the natural environment, to questions of 'freedom', to gender politics
Revoicing cultural landscapes
Full text linkIn this final chapter, the editors reflect on the findings and implications of the volume as a whole, placing the chapters in the context of the revoicing conceptual framework and outlining a possible practical manifestation in the concept of heritage literacy. They share examples of this in practice in the Joint Programming Initiative on Cultural Heritage (JPICH) Re:voice project which, while not intended as an intervention itself, nevertheless included a range of practical initiatives intended at effecting some of the change we are exploring. They then consider what a revoicing practice might look like in the context of – as complement to or instead of – the ICHC, consider the limitations of the book and possibilities for future research