Author: Kit Riley

I am a human who lives in regional Victoria, Australia. I make art, crafts, essays, poems, and enquiries into the nature of being. My interests include cats, dreams, conspiracy theorists, magic, robots, philosophy, and television programs featuring oddball detectives. I am alive in a sensory universe. I am an autistic person who tries to make the world a better place for other autistic persons, and, by extension, persons in general.

The Beige Times, issue 2, May 1949: Desert Sand

Beige November 27, 2018

a drawing I made of the imperfections of the paper on which I was drawing, overlaid with typed text

a drawing I made of the imperfections of the paper on which I was drawing, overlaid with typed text

a drawing I made of the imperfections of the paper on which I was drawing, overlaid with typed text

[Image description: an abstract beige, brown, pink and white drawing made with pencil on 3 tabbed index cards. The drawing has been collaged over with lines of typed text. The text reads as follows:

As noted in Issue 1 of The Beige Times, the artist Lázsló Moholy-Nagy was suspected to have lied about the method of creation of his Telephone Pictures. He claimed to have ordered the paintings over the phone, but is alleged to have ordered them in person. During the 1960s and ’70s, a globally distributed network of blind teenagers were also lying about their telephone use.

In the mid-1950s Joe Engressia (1949-2007), a blind eight-year-old with perfect pitch, discovered that by whistling into the telephone receiver he could trick the AT&T phone system into thinking it was listening to itself. By reproducing the frequencies AT&T used for its long distance switching system, Engressia found he could connect to any phone number without dialling (or paying for) it.

In the mid-1960s Mark Bernay (not his real name) travelled up and down the U.S. West Coast leaving stickers in telephone booths. The stickers read, “Want to hear an interesting tape recording? Call these numbers.” The numbers listed were loop-arounds – pairs of phone numbers that the telephone company used for remote circuit testing and troubleshooting. A technician would call one of the numbers in the pair from any telephone line, then call the second number in the pair from another telephone line. The two lines would be automatically connected via the loop-around pair, and the technician could run diagnostic tests on the connection. Mark Bernay and other telephone enthusiasts (known as phone phreaks) had discovered that two people could talk over loop-around connections anonymously and toll-free.

Eventually Bernay’s road trip paid off, and teenagers everywhere were chatting anonymously on loop-arounds and setting up massive, free, international conference calls. Phone phreaking was particularly popular amongst blind kids. Isolated in a sighted world, they could dial into a loop-around at any time of the day or night and instantly connect to other blind kids, at home in an aural medium.

During this time, AT&T held a monopoly over the North American telephone services market via a network of companies called the Bell System. Households had to lease their telephone from Bell, and were prohibited from using other companies’ equipment. During the first half of the 20th century, nearly all Bell telephones were black, as it was too costly to produce them in different colours. However, after World War II, the telephone became a decorative, as well as functional, household item, and AT&T began mass producing them in a variety of colours. One colour, marketed by AT&T as beige, is actually a variant of beige more precisely called Desert Sand.

In 1998, Desert Sand was introduced into the Crayola colour range. According to the Crayola website, Desert Sand is a member of  the Crayola brown family. I attempted to construct a chronology of all current Crayola brown crayons, but my efforts were frustrated by absent and conflicting data. The study of Crayola colour history has been complicated by inconsistent naming and record keeping conventions on the part of the Crayola company. A small number of devoted fans have laboriously compiled Crayola colour timelines, collecting antique crayons and comparing their colour variations in an attempt to discover which colours are genuinely different and which are just differently named. Such visual distinctions would no doubt have seemed irrelevant to Joe Engressia, who changed his name to Joybubbles in 1991. After recovering memories of childhood abuse, he decided to revert permanently to childhood, and founded a spiritual and peer support organisation for other eternal children called We Won’t Grow Up. The message on his telephone answering machine included the slogan, “Out of the rat race, into the sand box.”]

Manifest Cat

Mimsy November 8, 2018

Here is a photographic ritual for manifesting cats that you can try at home. If you do not have access to a real cat, you may substitute a picture of a cat. However, the magic is more potent if the original cat is a body, rather than an image of a body.

The greater the number of recursive cat images you display in your home, the greater the number of cats who will appear to you elsewhere in your life.

Image description: a closeup photograph of a medium-haired tortoiseshell cat sleeping curled up on a dark blue sofa.

Image description: a closeup photograph of a medium-haired tortoiseshell cat sleeping curled up on a dark blue sofa.

Image description: a photograph in portrait orientation of a medium-haired tortoiseshell cat sleeping curled up on a dark blue sofa. The top of the sofa is just over half way up the image. Above that there is a greyish-cream wall. At the top centre of the photograph, attached to the wall, is a closeup photograph of the same cat, sleeping in the same position, on the same sofa.

Image description: a photograph in portrait orientation of a medium-haired tortoiseshell cat sleeping curled up on a dark blue sofa. The top of the sofa is just over half way up the image. Above that there is a greyish-cream wall. At the top centre of the photograph, attached to the wall, is a closeup photograph of the same cat, sleeping in the same position, on the same sofa.

catmanifest3

Image description: a photograph in portrait orientation of a medium-haired tortoiseshell cat sleeping curled up on a dark blue sofa. The top of the sofa is just over half way up the image. Above that there is a greyish-cream wall. At the top right of the photograph, attached to the wall, is a closeup photograph of the same cat, sleeping in the same position, on the same sofa. At the top centre of the photograph, attached to the wall, is a photograph of the same cat, sleeping on the same sofa, below the same wall, to which a closeup photograph of the same sleeping cat is affixed.

catmanifest4

Image description: a photograph in portrait orientation of a medium-haired tortoiseshell cat sleeping curled up on a dark blue sofa. The top of the sofa is just over half way up the image. Above that there is a greyish-cream wall. At the top right of the photograph, attached to the wall, is a closeup photograph of the same cat, sleeping in the same position, on the same sofa. At the top centre of the photograph, attached to the wall, is a photograph of the same cat, sleeping on the same sofa, below the same wall, to which a closeup photograph of the same sleeping cat is affixed. To the left of this photograph, and below the closeup photograph, is a third photograph attached to the wall. It displays the same cat, sleeping on the same sofa, below the same wall, to which the same photographs of a closeup cat and a cat sleeping on a sofa below a photograph of a closeup cat are affixed.

Twin Twin Peaks: mobile doubles

Mimsy October 23, 2018

A few years ago, I watched the original Twin Peaks series. I became obsessed with photographing and filming the television screen in ways that incorporated the reflection of what I was filming into the scene that I was filming. I’m gradually posting the photographs and gifs I made at that time.

Image description: a photograph of a television screen showing a scene from "Twin Peaks." The scene shows a closeup of the character Audrey Horne's face. She is lying on a pink floral sofa with her eyes closed. A man's hand is brushing against her cheek. The image contains a reflection of a mobile phone which is displaying the same scene as photographed from the TV screen. The reflected phone image is situated to the right of Audrey's cheek, overlaying the palm of the man's hand.

Image description: a photograph of a television screen showing a scene from “Twin Peaks.” The scene shows a closeup of the character Audrey Horne’s face. She is lying on a pink floral sofa with her eyes closed. A man’s hand is brushing against her cheek. The image contains a reflection of a mobile phone which is displaying the same scene as the one that is currently being described. The reflected phone image is situated to the right of Audrey’s cheek, overlaying the palm of the man’s hand.

Image description: a photograph of a television screen showing a scene from twin peaks. The scene is a closeup of the character Donna's head and shoulders. Donna is standing up and facing the camera. She wears a pale blue top and dark brown jacket. She is holding a pink flower at the left side of the image. A reflection of a mobile phone screen is present in the image to the right of Donna's jawline. The reflected screen displays the same image as the one that is being photographed from the TV screen.

Image description: a photograph of a television screen showing a scene from “Twin Peaks.” The scene is a closeup of the character Donna’s head and shoulders. Donna is standing up and facing the camera. She wears a pale blue top and dark brown jacket. She is holding a pink flower at the left side of the image. A reflection of a mobile phone screen is present in the image to the right of Donna’s jawline. The reflected screen displays the same image as the one that is currently being described.

Image description: a photograph of a television screen showing a scene from "Twin Peaks." The scene shows either the character Donna or the character Audrey in profile at the right of the image. Donna or Audrey is facing towards the left. She is resting her hand on a pink wall and is looking at a set of two dimmer light switches. Also present in the image is a reflection of a mobile phone screen. The screen reflection is situated between Donna or Audrey's hand and the dimmer switches. The reflection shows the same scene as the one that is currently being described.

Image description: a photograph of a television screen showing a scene from “Twin Peaks.” The scene shows either the character Donna or the character Audrey in profile at the right of the image. Donna or Audrey is facing towards the left. She is resting her hand on a pink wall and is looking at a set of two dimmer light switches. Also present in the image is a reflection of a mobile phone screen. The screen reflection is situated between Donna or Audrey’s hand and the dimmer switches. The reflection shows the same scene as the one that is currently being described.

Environment Poems

Sensory Integration October 11, 2018

In February 2017, I took part in a residency at Testing Grounds, Melbourne, with the art collective While the Hour. Testing Grounds is in the middle of the city, on a busy road. The loudness of the environment made it difficult for me to work there, because I was in sensory overload from the moment I arrived on site each day until long after I’d returned home to safety each evening.

Because I couldn’t filter out the environmental noise, I decided to make it the focus of my project. I attempted to notate the noises I heard – the sounds of car engines, construction work, aircraft, squealing tyres, etc. – and compile them into a glossary. Here is a snippet of the glossary:

H

haaah
hee
hee hee hee hee
heee
hee-e
heeee
heeeeeau
heeeeeee
heeeee-ee-ee
heee-eei
heeeiiie-ee
hooweek
hoowooohaawaaeeehooweeooaliiah

This idea wasn’t a new one for me. It’s a technique I’ve returned to over and over again in the last several years. Sometimes I notate the sounds without trying to make verbal sense of them, as in the list above. Other times, I try to translate the notations into English words, and use them as the basis for a poem. For example, I wrote this poem when I was living in Washington State, USA, using noises I collected on a bus journey:

Bus Hum

Out of luck you check your pockets
Hear a warning in a mutter
What a week to cheat your boredom
Other pockets always cleaner

Leech a fortune from another
What a week to take the border
Other meadows always greener
Pick a voice that doesn’t stutter

Lock it in your practised patter
What a cheek to take a quarter
Luck into a better board room
Post a bank check in a notecard

Other water always wetter
What a bore to make a fortune
Out of luck you take the border
Other voices always clearer

Hear a warning from another
Other fortunes always cleaner
Other pockets always leaky
Luck into a better bank note

Buck the fortune of your boredom
Pick a week and check your pockets
Out of luck you hear a warning
Other dollars always greener

Part of being autistic (for me, at least) is not filtering sensory information in an ordinary way. Human, social noises (i.e. speech) are not foregrounded in my perception. I have to consciously work at prioritising human communication in order to give it the socially expected degree of attention that most people can give it automatically and intuitively.

I saved this blog post as a draft, and now I’ve come back to it again, I realise I’ve described the above perceptual difference in a way that implies a deficit, a way in which I must struggle (and frequently fail) to measure up to social expectations. I expressed it in this way without even realising what I was doing, because that is the way these differences are usually expressed in our society. It’s so common for differences to be spoken of in terms of deficits that it can start to feel as though that implicit value judgement is an unchangeable part of reality, when actually it is a reality we remake ourselves each time we talk with each other. So let’s reword the previous paragraph:

Part of being autistic (for me, at least) is not filtering sensory information in an ordinary way. I have an egalitarian perceptual world in which human and non-human noises are of equal importance. Most people must deliberately and painstakingly tear themselves away from the perceptual hierarchy that prioritises social information. Luckily, it takes me no effort to realise that I am alive in a sensory universe.

I don’t believe that the above poem, or any poems like it, are literally being said by the places where I collected those sounds. I don’t believe that nonhuman entities are speaking to me in a slurred and coded English, or indeed that they are speaking to me at all in a literal, social sense. Nevertheless, these sounds figure large in my perception, and therefore they have meaning for me – just not a social or linguistic one. By turning the sounds of my surroundings into human-readable words, I can at least indicate that meaningfulness to others. I can point at my socially-implicit deficit, and tell you that it is not deficit, but surplus.

A SOUND BARRIER

Sensory Integration October 2, 2018

I wrote this essay in February 2017, as part of an artist residency at Testing Grounds, with While the Hour arts collective. My project for this residency involved an attempt to discern and notate the cacophony of nonhuman sounds I heard in that place.

TESTING GROUNDS

The traffic noise here is more or less constant. The site is in the centre of the city, where peak hour lasts all day. The noise is not altogether uniform – there are discernible, wave-like patterns in the volume. This variation could perhaps be explained by the surrounding traffic-light cycles, which compress and release the vehicular flow, creating intersecting formations that sometimes amplify and other times obliterate each other. Still, the frequency of these waves causes an overall effect of constant, unchanging noise – a dusty and supernaturally turbulent ocean beach.

When I take the traffic sounds as my point of focus, I begin to feel as though time has stopped. The consistency of the wave across the day dampens the feeling of time’s motion. Time has frozen, yet the traffic keeps inexplicably passing. I know, intellectually, that I am hearing an effect of constant change, but I feel, bodily, the solidness, the dependability – the soundness – of the sound.

I feel the soundness of the sound, but I feel it via an unsoundness of my body. I notice a turbulence in my chest and gut, an agitated rolling and juddering across my skin. I suddenly feel a desire to lie on the ground or prop myself up against a wall. I’m looking for a sounder body to lean on, to brace myself against the intangible body of the noise.

WHALES

Whales can see barely 20 metres ahead in the water, but can hear a wave crashing on the shore from thousands of kilometres away. They use their voices to communicate, and they use their finely developed echolocation abilities to find prey and to understand the contours of their environment. Where a human’s consciousness and sense of self relies heavily on visual information, a whale’s is based primarily on sound.

The oceans have become much noisier over the last century. Busy shipping routes and underwater gas exploration have contributed to what marine scientist Christopher Clark calls “acoustical bleaching” – an intense blanket of noise that drowns out the whales’ voices, preventing them from feeding and communicating.

Whales have been observed hiding behind rocks and moving dangerously close to the shore in an attempt to escape the noise of underwater explosions. Whales living in noisy parts of the ocean are thought to be suffering from chronic noise-induced stress.

WAVES

At Testing Grounds, I feel awash in noise. I had planned to spend most days working here over the residency, but in the end I found I spent most days hiding from the site.

I had noticed the ocean of noise on my first visit, and realised that I would be unable to ignore it or to easily focus on anything else while I was there. Most people I meet appear to have the ability to filter out unnecessary aural information. This is an ability I have never been able to share or to fully comprehend.

I decided that if I could not ignore the noise, I would make it the focus of my work at Testing Grounds. This tactic had worked for me in the past, ameliorating my stress by narrowing my focus.

Yet, despite my best efforts and my lifetime of finely-honed coping strategies, I felt as if I was drowning. I fled home, and I dreaded having to return the next day. The site is as impossible and inaccessible to me as if it were situated on the bottom of the ocean floor.

A SOUND BARRIER

Humans, like whales, experience psychological ill-effects from noise pollution. Noise-induced sleep disturbance can contribute to high blood pressure and mood problems. Noise can impair concentration and increase irritability, having negative effects on people’s interpersonal abilities.

Noises from traffic, aircraft and industry typically come to people’s attention only when they are loud enough to cause a disturbance. These noises are perceived as inherently bad, meaningless, or unproductive. They are an unfortunate by-product that spills out of an otherwise useful device or activity, an excess that we can accept insofar as we can ignore it in favour of more meaningful aural activities.

This is no surprise. These sounds are unpleasant, cacophonous, and unstructured. They have no meaning aside from their undifferentiated excess. They are difficult and worrisome and pointless. They are the offcuts and refuse of something more desirable. It’s hard to love trash.

It’s hard to love trash, but I think trash is still worthy of remark, for no reason other than that it exists. I think it’s worth acting as if the noise is meaningful, even when there is no meaning to be discerned. The noise is audible, and that is more than enough.

REFERENCES

Stansfeld, S. A., & Matheson, M. P. (2003). Noise pollution: non-auditory effects on health. British Medical Bulletin, 68(1), 243-257. doi:10.1093/bmb/ldg033

Jenner, C. (2017, February 15). Too much noise in the ocean for whales’ sensitive ears. The Conversation. Retrieved from http://theconversation.com/too-much-noise-in-the-ocean-for-whales-sensitive-ears-17933

Schiffman, R. (2016, March 31). How Ocean Noise Pollution Wreaks Havoc on Marine Life. Yale Environment 360. Retrieved from http://e360.yale.edu/features/how_ocean_noise_pollution_wreaks_havoc_on_marine_life

The Beige Times issue 1, January 2002: Cosmic Latte

Beige September 20, 2018

abstract, amorphous beige image, sort of like a stain or maybe outer space, with typed text pasted on topabstract, beige, grey, and yellow drawing, possibly looks like a bruise or a face, with typed text stuck on topabstract, beige, grey, and yellow drawing, possibly looks like a bruise or a face, with typed text stuck on topCCF03022016_0007abstract, amorphous, beige drawing, possibly a galaxy, possibly a spilled drink of some kind, with typed text stuck on top

Image description: a five-part collage. An abstract, amorphous, beige image, sort of like a stain or maybe outer space, made with oil pastel and wax medium on fabric. Strips of typed text are pasted on top. Text reads:

Owing to a software error, scientists initially believed that the universe was green. It is now known that the universe is beige.

In January 2002, Ivan Baldry and Karl Glazebrook from Johns Hopkins University declared that the true colour of the universe was pale green. The scientists had used data from the 2dF Galaxy Redshift Survey – a survey which measures the light coming from more than 200,000 galaxies – to determine the average wavelength of light in the universe.

The scientists wanted to know what colour the universe would look like to a hypothetical outside observer who could stand in the void and gaze at the universe from afar. Unfortunately, the 2dF Galaxy Redshift Survey was not undertaken in the void, but rather at the Anglo-Australian Observatory in New South Wales.

The universe is expanding at an increasing rate, and the cosmic bodies within it are moving apart at increasing speeds. Your perception of light is dependent on the velocity of the light source relative to your own. When a light source is moving away from you, the wavelength of light that your eye receives will be longer than the wavelength of light that was emitted by the source. This is known as a redshift. As New South Wales is situated within the universe, and the universe is moving away from New South Wales, any measurement of universal light taken from there is redshifted.

As such, the scientists needed to de-redshift the data before they could discover the externally-viewable colour of the universe.

I read Red Shift by Alan Garner in 2002, the year I first became mad, the same year that the universe was first green, then beige. Red Shift is set in Southern Cheshire, England; its story spans nearly two thousand years. The characters – ex-soldiers of the Roman Empire, villagers caught up in the English Civil War, and two teenagers in the 1970s – echo each other across vast gaps in time. The place is like a character, its personality manifest in the words, actions and prophetic visions of its inhabitants who cannot know each other, but who continuously repeat and predict each other’s paths.

A second problem in determining the colour of the universe lay in the physiology of human vision. The human eye registers colour differently in different environmental conditions. The researchers wanted to see, from a human perspective, what the data was telling them about the universal perspective. In order to do this, they needed to further adjust the data from the 2dF Galaxy Redshift Survey.

Unfortunately, the software they were using had an error in it. Just weeks after announcing that the universe was green, the scientists issued a correction, saying that the true colour of the universe was a shade of beige they had named “cosmic latte.”

On Glazebrook and Baldry’s webpage, where they discuss the science behind their discovery, there is a typo: “emailed” is spelled “emailled.” Emaille is German for enamel. In 1923, László Moholy-Nagy produced a series of paintings entitled Konstruktionen in Emaille, better known as Telephone Pictures. He describes his work process:

I ordered by telephone from a sign factory five paintings in porcelain enamel. I had the factory’s color chart before me and I sketched my paintings on graph paper. At the other end of the telephone the factory supervisor had the same kind of paper, divided into squares. He took down the dictated shapes in the correct position.

Several decades later, Moholy-Nagy’s first wife stated that he’d actually ordered the pictures in person, not over the phone. There is still some disagreement regarding the truth/relevance of this claim.

Said Glazebrook, “There’s no error in the science, the error was in the perception.”

July happenings

Happenings July 19, 2017

At 4pm on Sunday July 23rd, I’m going to be performing some poems at the Prahran Mechanics Institute, as part of the Provocaré Winter Arts Festival.

I’ve recently assembled an electronic musical instrument using a wireless keyboard and a plastic cricket bat. Sunday will be my first performance with the instrument.

You can read about the event here.

Nonhuman Stereo Network

Happenings February 19, 2017

Public Meeting (and free WiFi)

Thursday, February 23
6pm – 7pm
@ Testing Grounds, 1 City Road, Southbank
VIC 3006 Australia (click here for map)

wobbly venn diagram showing an area of sound at the intersection of two areas of noise

You are invited to attend a meeting of the Nonhuman Stereo Network. The meeting will provide you with tools for increasing the density of your present moment, without the usual hassle of having to also increase your moment’s meaning.

The meeting’s speakers are the human-made, non-human noises that you habitually deprioritise in pursuit of life as a normal human being.

There is no need to RSVP. To join the meeting, come to Testing Grounds at the appointed time and look for the instructions posted there.

It is imperative that you do not communicate with any other humans who are attending the meeting.

February Happenings

Happenings January 31, 2017

WhileTheHourOption1

I have an exciting project coming up in February. I’m part of an artist collective which is dedicated to investigating the nature of time called While the Hour. From February 6 – 24 we’ll be in residency at Testing Grounds as part of the 2017 National Sustainable Living Festival.

We’re running a series of deep time-themed events on the 10th and 11th of February in which you’re invited to draw, write, or simply rest in the fertile state between sleep and wakefulness. We’ll also be working on site to conduct our own investigations into chronosophy.

You can find more information and a full event schedule at whilethehour.wordpress.com or on our Facebook page. You can also book tickets here.

Mental Health Week 2016

Happenings October 5, 2016
b&w pencil drawing of a young woman with cat-like facial features

Image description: Drawing from “Strange stranger.” Black & white pencil drawing of a young, white woman with short blonde hair. The woman’s facial features are half-way between a human’s and a cat’s. She is supporting her head with her left hand (as seen from the viewer’s perspective), and is wearing a black & white zigzag patterned shirt with a grey bow tied at the collar.

This week is mental health week. Mind in Williamstown has organised a pop-up art exhibition of work by people who experience mental illness. The artworks have been installed in various locations around the western suburbs of Melbourne, and you can go and see them until October 15th.

I have a couple of pictures up in Ellie’s Kitchen, 42 Hall Street Newport. The other art locations are:

Sourdough Kitchen, 172 Victoria Street Seddon

Williamstown Library, 84 Ferguson Street Williamstown

Seddon Deadly Sins, 148 Victoria Street Seddon

The Corner Shop, 9 Ballarat Street Yarraville

Yarraville Yoga Centre, 36 Ballarat Street Yarraville

Spotswood Community House, 598 Melbourne Road Spotswood

Tjay’s Cafe, 10c Watton Street Werribe

Mondells Patisserie, 33 Watton Street Werribee

Odd Spot Cafe, 302 Melbourne Road Newport

Sammy’s Bakehouse, 22A Mason Street Newport

The Backyard Est. 2016,  19 Mason Street Newport

Stepping Stone, 27 Schutt Street Newport

Deli Cafe, 45 Challis Street Newport

The Granary Cafe, 2 Devonshire Road Sunshine

Hey Zeus Cafe,  81 Hopkins Street Footscray

Dancing Dog Cafe,  42A Albert Street Footscray

The Atomic Bar,  185 Nelson Place Williamstown

Novel Kitchen,  80 Ferguson Street Williamstown

The Jolly Miller Cafe, T09/100 Overton Road Williams Landing

Pitstop Cafe, 300/302-330 Millers Road Altona North

Runkle Del Rouge, 80 Pier Street Altona

Numero Uno Pizza and Pasta, 20 Pier Street Altona

Laverton Community Centre, 95 Railway Avenue Laverton

Seabrook Community Centre, 15 Truganina Avenue Seabrook

More mind

Mimsy July 25, 2016

Ages ago, I published a questionnaire (which I have since taken down), titled LOST: mind. It contained a series of (mostly silly) questions that would allow me to borrow the answerer’s mind (having lost my own, I required a mind-loan).

No-one responded to begin with, so I soon forgot to keep checking the results sheet.

I just checked the results sheet, and it turns out someone filled in the form a few months ago without me realising it. I don’t know who you are, but thank you! Perhaps you are the reason I’ve been feeling so much more focused lately – my quantity of mind has increased.

Via this blog post, I return your mind to you, my anonymous benefactor, with my appreciation. I would not want you to go too long without it.

Best wishes, oh unknown you,

Kit

August Happenings

Happenings July 25, 2016

Saturday, August 6, 4pm.

7Up at SEVENTH, 155 Gertrude St, Fitzroy.

BLUSHINGS – Vocal Narratives

For her exhibition at SEVENTH, Clara Bradley is holding an artist talk, which will include a reading event. I’ll be reading a piece called OK GOOGLE.

18 August – 2 September.

SEVENTH, 155 Gertrude St, Fitzroy.

GRIMM BUT STILL WAKEFUL by Isobel Taylor-Rodgers

I am writing the catalogue essay for Isobel’s show. Come to the opening night (Wednesday, 17 August, 6-8pm) to see her live performance, or come to see the installation until 2 September. (also read my essay!)