Diagramma Enflamma

'Enflamma Diagra' is a video/sound installation, a contribution for a group exhibition: The event explores diagrams as actual/virtual machines that while taking material form and indexing existing relations and objects, point to other arrangements. As Gilles Châtelet declared, diagrams are gestures that invite other gestures. This is a vision of diagrams as abstract machines activated through performance or thought; a notion of diagrams as relays that connect or traverse different times and spaces. It is a conception of diagrams as critical and logical exploratory devices that, in presenting what is not apparent or visible – real abstractions, potential modes of being, hidden relations – paradoxically depend on the register of the imaginary and the inventive production of images, figures and gestures. Since the Enlightenment, when diagrams facilitated scientific and technical breakthroughs, to cybernetic research of the twentieth century, to the algorithmic devices that govern relations and economies today, diagrams have extended and organised human culture. The danger of this proliferation might be that while diagrams are everywhere they are often reductive rather than exploratory, functioning merely as organisational machines or as influential figures of control and efficiency. In response, Plague of Diagrams addresses not just the critical and organisation functions of diagrams but the art of diagramming too

Will Internets Eat Brain?

‘Will Internets eat brain?’ is a video-essay performance commissioned by MAP Magazine for Glasgow Film Festival 2017 funded by Creative Scotland. The video-essay performance investigates performative assemblage, speculative fictions and copy culture in relation to digital technology, the body and the Internet. The work takes up queer feminist practices as a methodology to investigate viral narratives shared via search engine algorithm and everyday Internet interactions. The speculative, performative and material forms of ‘Will Internets eat brain?’ consider wilfully undisciplined, messy approaches highlighting multiplicity, iteration and otherness. The video-essay is constructed as a series of cut ups and fragmented narratives that upset and bend any singular discursive argument, linearity or chronological space/time logic. The work was subsequently developed for the Journal of Writing in Creative Practice published by Intellect. 2018 Edited by Susannah Thompson and Laura Edbrook. Katrina Palmer, Laurence Figgis, Gillian Wylde, Joanne Tatham, Lindsay Seers, Elizabeth Reeder, Amanda Thomson, Laura Edbrook and Susannah Thompson. The Journal was launched with the event: Art Writing, Paraliterature & Intrepid Forms of Practice on Thursday 22nd November 2018, 6-7.30pm, CCA, Glasgow. Preliminary research was conducted for the panel (Re)volting data Presented at ISEA2016HK. Monday 16 to Sunday 22 May 2016, City University’s Creative Media Centre. With Gillian Wylde the panel included: Jane Prophet, City University, Hong Kong, Helen Pritchard Goldsmiths College, University of London, Tarsh Bates, The University of Western Australia and Jaden J. A. Hastings University of Melbourne. ‘Will Internets eat brain?’ was presented as a conference paper - ‘Writing’ Society for Artistic Research (SAR) International Conference on Artistic Research, University of the Arts, The Hague 28 & 29 April 2016 ‘Will Internets eat brain?’ was presented as a video essay performance at Palace of Culture 2: House of Questions at Newlyn Art Gallery 2017 funded by Arts Council England. ‘Will Internets eat brain?’ was presented as a video essay performance at ReFrag #4 Cradle-to-Grave, The New School, Parsons Paris School of Art, Media and Technology 2018 ‘Will Internets eat brain?’ was presented as a conference paper - 'Artistic Research Will Eat Itself', Society for Artistic Research (SAR) International Conference on Artistic Research, April 11th 4pm - 13th 6pm 2018 at University of Plymouth. ‘Will Internets eat brain?’ was exhibited as a multi-screen video installation at: British Film Institute as part of Code Liberation and Women with a Movie Camera festival 2018 curated by Phoenix Perry & Kiona Niehaus ‘Will Internets eat brain?’ was exhibited as a multi-screen video installation as part of the group exhibition Corrupting Data @ Falmouth Art Gallery 2017 Artists included: ϟℙ∀ℳℳ▁ℙϴШ€ℜ Rosa Menkman, Mario Klingemann, Gillian Wylde, Oliver Scott, Sam Hains  Curator Magda Tyżlik-Carver

Will Internets eated brain??

Artistic Research Will Eat Itself 9th SAR - International Conference on Artistic Research University of Plymouth, April 11th 4pm - 13th 6pm 2018 Paper and video installation Will Internets eated brain?? is a mash-up of other stuff. It is a new text. It is stark, it frustrates, drawing to attention non-linearity, multiplicity-ness and nowotony. An algorithmic queer tone/ vocal fry runs throughout it. It explores processes of performative assemblage(s) highlighting activities of impure accumulation, backchannel fragmentation and arrangement. Together with everyday interactions between animal, mineral, vegetable and Internet. It appropriates information retrieval and Internet search activities taking the form of a series of deliberate reverberations, wet disorderings, listicles, SMS language/textese and netspeak. It invokes speculative fictional methods such as carriers, radiation, mental diseases, vectors, viruses, scientific accidents. It’s a messy repetition of loops, surface intensities, anaerobic fabulation and hashtagisms: #IRL #aerobics #MashUp #worms #compost #fatbergs #rubbing #naturalhorror #WetOrganicMatter #deaded #impure #wastebasket #taxons #fitness #exerciseballs. The text was originally commissioned by MAP Magazine, Glasgow and presented for Glasgow Film Festival in 2017. Earlier versions appeared at ISEA International Symposium on Electronic Art, Hong Kong, and The Day The World Turned Day Glo at Arnolfini, Bristol

Inna-deno pudenda membra

EROS: Issue 7 | The Interior In response to the theme of ‘The Interior’ I wrote a text work that engaged with ideas of the topology of vaginal structures, exploring relations between geometry, eroticism, art practices, critical theory, literature, film, and philosophy. The interior implies not merely physical space, but other conceivable spaces. Using a conceptual language of relationships and intensities, space, dimension, transformation, the writing will investigate a variety of spatial attributes, textures of space, affective bodies; stretching infolding cellular layers, leaking nipples, coarse hair, invagination, a logic of fluidity and fluid mechanics, essentially a resistance to static ideas of space as a container. The text explored unruly disorderly unfolding affectivities of topological vaginal structures and connections across a network of disciplines concerned with topology as ‘movement-space, of multiplicity, differentiation and exclusive inclusion that have led to new ideas of power, subjectivity, and creativity’ (Jean Matthee, 2011/12). Including examples of invagination and ‘infoldings’ in Luce Irigaray and Jacques Derrida’s writings, and ideas of becoming topological/topological spaces, in the writings of Celia Lury and Luciana Parisi, Dodie Bellamy’s ‘Cunt Ups’ and ‘The wandering vagina’ in Esther Newton’s essay ‘Of Yams, Grinders, and Gay’s ‘The Anthropology of Homosexuality’. Eros Press is a London-based independent publisher of periodicals, books and artists' editions. Our publications are initiated by invitations, as well as open submission. Proposals can be sent to us via our contact page. Eros Press publications are distributed in the UK, Europe and America by Antenne Books, and Motto Distribution. Relevant details are available from their websites Antennebooks.com and mottodistribution.com E.R.O.S. is the journal of Eros Press. It is published biannually, and dedicated to the subject of desire. It covers a wide range of fields, drawing together often disparate disciplines under the auspices of each issue's theme. Alongside newly commissioned work, E.R.O.S. contains excerpts, reproductions and reappraisals. Submissions are welcomed, and notice of forthcoming themes can be obtained upon request. Commissioning Editors Sami Jalili Fabian Lan

Enflamma Diagra

'enflamma diagra' (2015) collaboration with Neil Chapman Re[a]d Secretions from the dripping bubo. Work that rids the world of brain sand experiments in collaborative method as pure diagramming. Materials assembled according to processes that remain non-communicating invaginating interference patterns in meantime meaning-making collective myth for release into the social bloodstream

Multispecies Storytelling in Intermedial Practices

Multispecies Storytelling in Intermedial Practices is a speculative endeavor asking how we may represent, relay, and read worlds differently by seeing other species as protagonists in their own rights. What other stories are to be invented and told from within those many-tongued chatters of multispecies collectives? Could such stories teach us how to become human otherwise? Often, the human is defined as the sole creature who holds language, and consequently is capable of articulating, representing, and reflecting upon the world. And yet, the world is made and remade by ongoing and many-tongued conversations between various organisms reverberating with sound, movement, gestures, hormones, and electrical signals. Everywhere, life is making itself known, heard, and understood in a wide variety of media and modalities. Some of these registers are available to our human senses, while some are not. Facing a not-so-distant future catastrophe, which in many ways and for many of us is already here, it is becoming painstakingly clear that our imaginaries are in dire need of corrections and replacements. How do we cultivate and share other kinds of stories and visions of the world that may hold promises of modest, yet radical hope? If we keep reproducing the same kind of languages, the same kinds of scientific gatekeeping, the same kinds of stories about “our” place in nature, we remain numb in the face of collapse. Multispecies Storytelling in Intermedial Practices offers steps toward a (self)critical multispecies philosophy which interrogates and qualifies the broad and seemingly neutral concept of humanity utilized in and around conversations grounded within Western science and academia. Artists, activists, writers, and scientists give a myriad of different interpretations of how to tell our worlds using different media – and possibly gives hints as to how to change it, too

Percale Thrip

‘The Nabokov Paper: An experiment in novel reading’ Publication. Contributors: Graham Allen, James Arnett, Abraham Asfaw, Anne Attali, Katarzyna Bazarnik, Derek Beaulieu, Paul Becker, Christian Bök, Shanna Bosley, Stephen Bury, Chloe Briggs, Kate Briggs, Maurice Carlin, Jennifer Carr, Guillaume Constantin, Jamie Crewe, Véronique Devoldère, Lucia della Paolera, Craig Dworkin, Zenon Fajfer, Helen Frank, Céline Guyot, John Hamilton, Sharon Kivland, Gianni Lavacchini, Anna-Louise Milne, Forbes Morlock, Simon Morris, Amy Pettifer, Lucrezia Russo, Olivia Sautreuil, Nick Thurston, Jane Topping, Madeleine Walton, Patrick Wildgust, Robert Williams and Jack Aylward-Williams, Sarah Wood, Gillian Wylde. There is nothing like The Nabokov Paper. Now more than ever we need critical writing that provokes and excites. The responses here included do that and more. They are answers that question, and that offer ‘an invitation, or incitation’ to read and to respond in kind. The Nabokov Paper brings the news. Read all about it.” –Stephen Benson, University of East Anglia and co-author of Creative Criticism: An Anthology and Guide Pages: 82 and 83 & Exhibition at Shandy Hall (Coxwold) October 26 - November 31, 2013 Percale Thrip was a video work made for the exhibition. Stills from the video were printed in the publication, ‘The Nabokov Paper: An experiment in novel reading’, together with a written text '27. inflow, influerre'. The project interprets Vladimir Nabokov’s famous class taught at Cornell University, New York State, ‘Literature 311-312: Masters of European Fiction’. Wylde focused on Nabokov’s pedagogic approach to Franz Kafka’s The Metamorphosis. The video work highlighted Wylde’s exploratory approaches to ‘processes of performative assemblage(s)’, Wylde’s term articulating super-disciplinary foci including linguistics, philosophies, gender studies, social theories and art practices. Such approaches draw attention to accumulation, arrangement, movement, and that which is improvisatory, multi-modal or otherwise unpredictable., The work includes live actions for the camera and ‘recycling’ of image, text and audio data through methods of appropriative processes., Following two of Nabokov's questions on Kafka’s work, the project deconstructs, bothers and re-positions any hermetic hermeneutic by appropriating material from Wikipedia factualities and Google image searches. These online operations were disrupted with inappropriate of grammatically incorrect text input generative of aberrant juxtapositions, imagery and sound effects. The machine translation service, Google Translate, was used to dislocate text from one language into another. These ‘incorrect’ activities privilege modes of contingency, multiplicity and overlap to recover online image, sound and text data used to hybridise postproduction filters, transitions & generators. These ‘performative assemblages’ of ""things"" or pieces of ""things"" parallel ideas of non-linear historiographies, otherings and the hauntological queer of literature, performance art and film

It’sarealdeadringerforlove (a vile little piece of heart warming fluff)

The book, ‘Here Are My Instructions’ was published as a companion to the exhibition ‘writing Instructions/reading walls’, curated Olsen and Johanknecht, 2003, Poetry Society, London. Wylde’s artist pages were drawn from the installation and performance event that she made for the exhibition.\ud \ud 'It’sarealdeadringerforlove (a vile little piece of heart warming fluff)’ was a wall-based installation incorporating a micro landscape, texts, drawings of Lassie, and a live performance event ‘barking like a dog in the Poetry Society’. The work drew on Wylde’s two-year, practice-based inquiry into everyday social activities and questions of ‘performativeness’ within live and mediated practices. Research stemmed, initially, from an ‘uncanny’ and uneasy encounter with a man barking like a dog on a London tube, which provoked investigations into some of the complexities and intricacies that exist between language and the ‘non-linguistic’, and between human and non-human social behaviours. The research has resulted in a series of installations, performances, participatory events and video works in a variety of sites and contexts

The Penis Show

All is not lost A group exhibition curated by Emily Druiff 21 September-23 October 2011 CGP London // Gallery by the Pool, 1 Park Approach, Southwark Park, London SE16 2UA An exhibition of artworks by emerging and established female artists presenting a philosophy of optimism and resilience. Leaning towards an anarchic aesthetic of protest and DIY culture, all is not lost represents the potential of art to inspire change, with each artist revealing an individual approach to this in the form of confrontation or observation. The penis show curated by Rosalie Schweiker, is an exhibition within the exhibition. It includes work by Joanna Waterhouse, Matthew Sleeth, Colourful Colophone, Gillian Wylde, Hannah Clayden, Arthur Hazlewood and other good artists. For this exhibition I wrote a text work "I love her dick', in which the audience could telephone me and I would read the text over the phone to them. The work continued to explore questions of immediacy and ‘liveness’, events or conditions that could not be predetermined that favour an ‘in the moment’ approach together with inclinations, hunches, accidents and mistakes

Golden Fulvous

synthetic, synthesising, various, many, folding … POLYply is a series of events foregrounding cross-genre writing, which includes poetry readings, performances, film screenings and installations. POLYply events are each organised around particular themes, presenting performances, readings, film screenings and installations by participants including poets, artists, musicians and architects. The aim of POLYply is to promote dialogue and discussion amongst creative practitioners writing in an expanded field by providing a space for the dissemination of new work within poetic practice. For POLYply 13 'The Thing', I presented video works and a lecture presentation. https://polyply.wordpress.com/2011/10/05/polyply-13