Sic

'Sic' presents a paragrammic rewriting of the first volume of 'Mein Kampf' (Hitler, 1925) by global micro-workers in order to liberate the language and question the nature of freedom. Commissioned by International Literature Showcase, funded by International Literature Showcase, British Council, Writers Centre Norwich, Arts Council England

..Or maybe it's the same for everyone

...Or maybe it's the same for everyone is a print platform for artists' short fiction and experimental writing. It aims to provide a space for the diverse, text-based fallout from artistic practices. Issue #2: Featuring writing by: Martin Westwood, Annabel Frearson, Patrick Coyle and Lizzy Kane. Designed by Pavilionary Press Printed by Hato Pres

Datocracy

Datocracy is a compound neologism that embraces transhistorical liberations and reconfigurations of data, in its multiple perceptual-linguistic forms, into new value relations and systems of governance, democratic or otherwise. Datocracy evolves from the often-violent separation of data from its habitual matrices, by virtue of dispositifs, or apparatuses, as defined by Michel Foucault and elaborated by Gilles Deleuze. This paper examines material examples of the functioning of such dispositifs through Georges Bataille, Walter Benjamin, François Rabelais (through Mikhail Bakhtin), and William Burroughs. These examples demonstrate how emancipated data is readily recuperated into new relations of governance, as liberatory socio-political tools (or apparatuses), or vehicles of tyranny. In its passage between liberation and recuperation, in its state of utterance, perhaps, data experiences a protosemantic moment, a pre-definitional state, which offers the promise of a momentary escape from, or rather within, value relations

being eaten by a lion

'being eaten by a lion' is a spoken word audio recording (7'36") of an extract from: 'Affectation Correspondence’ (2018), a short science-fiction story written using only words contained within 'Frankenstein' (Shelley, 1831). The story is about an underground ‘feelings trader’, and is interspersed with elements of concrete poetry, which serve to reveal the structures of its making (as a form of database narrative). This extract is a reading of one such element from the story. The text is read both vertically and then horizontally, which is how I have performed it here, in a single take. This work was commissioned by ohrenhoch - der Geräuschladen, a Soundgallery for outstanding international Sonic Art in Berlin, Germany, for public broadcast outside of the gallery space during the Covid lockdown of March and April 2021

Attempty

A two-page spread featuring a word (attempty) from my 'Wollstonochlincraft 1791-1971' series of neologisms created by forging the words from two seminal historic feminist texts: 'A Vindication of the Rights of Woman', Mary Wollstonecraft (1791),'Why Have There Been No Great Women Artists?', Linda Nochlin (1971). This issue of Armseye magazine featured works and writing from the curators and artists of the 'Concrete Plastic' exhibition at Lam Gallery, Los Angeles

Wollstonochlincraft 1791-1971

'Wollstonochlincraft 1791-1971' forges compound neologisms from two emblematic feminist texts that are mirrored in their dates and message: 'A Vindication of the Rights of Woman' (Wollstonecraft, 1791) and 'Why Have There Been No Great Women Artists?' (Nochlin, 1971). Their historic argument recursively resonates within a digitised neoliberal realm to reflect our contemporary reality and dystopian future trajectory. Linda Nochlin herself kindly selected the words for inclusion within this publication

Wollstonochlincraft 1791–1971 / Annabel Frearson

Wollstonochlincraft 1791–1971 forges compound neologisms from two emblematic feminist texts that are mirrored in their dates and message: A Vindication of the Rights of Woman (Wollstonecraft, 1791) and Why Have There Been No Great Women Artists? (Nochlin, 1971). Their historic argument recursively resonates in a digitised neoliberal realm to reflect a contemporary reality and dystopian future trajectory.Linda Nochlin has kindly selected the words for inclusion. THE GOOD READER is a new series of booklets published by MA BIBLIOTHÈQUE. THE GOOD READER addresses reading, as both virtue and duty. The editor invites authors she considers to be good readers. She agrees with Nabokov that a good reader, a major reader, an active and creative reader, is a re-reader

Frankenstein2: review of 'I, Frankenstein' on Rotten Tomatoes

A commission by Trifle magazine to write a review of the film 'I, Frankenstein' (Beattie, 2014), using only words from 'Frankenstein' (Shelley, 1831), and post it on Rotten Tomatoes website