3 October 2015

breaking into frames

A few months ago I wrote a short text which keeps returning in my mind today as the initiator of a whole new strand in my writing, and which emerged out of an exhilarating frequentation of rhythms through listening rather than any rational outlines or plans. I’m not sure I can recall how it started other than the need to respond to the rhythms of a song while avoiding long-winded digressions on what that song was about.
The text embodies my recurring preoccupation with arrangements, frames and breaking into frames; it is part of my ongoing concern with ‘writing sound’ as presence instead of ‘writing about sound’ as reference — or I should say in this case: writing rhythm, writing breath. The more I return to it the more I feel it needs to be read aloud and in a way that would make the reader breathless.

It has generated a number of similar texts, all of them constructed by cross-fading two prompts: in the first of the series it was Loose Joints’ disjointed song Pop Your Funk and a specific sequence in John Carpenter’s film Assault on Precinct 13; in another, for the sake and for the fun of sheer assonance, Breton’s Nadja and Twin Peaks’ Nadine (the one obsessed with silent curtain runners). And more.

Last summer I resisted the temptation of collecting all these experiments with rhythm in a tidy book project, as I became more and more convinced of the need for blurred unclear boundaries in my writing sound knot-riddle-tangle — hence the decision to embed them in texts I wrote in other styles, as motors of more complex structures, and to have them appear in various art, sound, literary publications over the next few months — so that the muddiness, the text-ore, the tangled matter would become prominent, instead of any clear outlines. To echo something I read in that gem of a book, Other Traditions by John Ashbery as he wrote of Thomas Lovell Beddoes: ‘The fragments don’t separate easily from the matrix, and when they do, something is found wanting: they need their rough natural setting to register fully, even as it partially obscures them.’

Frames: Sketch for a Polyphony (After the Fire) is now published in Vanguard Editions’ #1ShortStoryAnthology edited by Richard Skinner.  Here is the Loose Joints/John Carpenter page:



15 September 2015

The LYD Writing Research Residencies

This autumn I’ll start two collaborative writing research residencies, hosted and supported by Lydgalleriet in Bergen.

When Mei Szetu from Lydgalleriet approached me and asked me to curate a project for them, I knew I did not want to switch into ‘production mode’ right away.

It was necessary instead to make time to research, read, listen, think; time to initiate new dialogues and collaborations; time to spend with artists and writers I admired but with whom I’d never worked before.

Following up the Writing Sound 2 project at Lydgalleriet in 2014, I was interested in re-thinking curating sound as an opening of collaborations, threads and transmissions over which I cannot have entire control.

And I was interested in looking for possibilities for a ‘Sound Art’ space, to go beyond what’s usually expected to hear and see in a ‘Sound Art’ space, and in connection to listening/writing — hence the decision to work with a writer and an artist, Natasha Soobramanien and Dominique Hurth, both of whom would be interested in undertaking residencies and in thinking around voices, conversations, recording, transmission, translating, silencing, although in two very different ways and through different forms.

The LYD Writing Research Residencies start this autumn. I will work in parallel with both Dominique and Natasha, to develop a series of public events and outcomes in 2016.

You can read more about the residencies and follow updates here:

14 September 2015

F.M.R.L. reviewed on The Wire and The Journal of Sonic Studies

More reviews for F.M.R.L., in The Wire / Oct 2015, and on The Journal of Sonic Studies.

It’s about time I started to think of The Next One, then. Or maybe something slightly different.

12 September 2015

Frames on Gorse #4

Six new texts are to be published on various journals and anthologies in the next few months. They are all interconnected, and deal in different ways with my ongoing concern with frames, in the attempt to shape a writing which inhabits certain rhythms heard in reading and listening.

The first of these texts will appear on the fourth issue of literary journal Gorse. It is entitled Frames and it contains short translations I made of some of Pasolini’s book reviews (never translated into English before), the only song he wrote, a marionette play and a slideshow, while not being ‘about’ any of these at all.

Gorse#4 is out at the end of September. You can read a preview of my text here:


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12 September 2015

F.M.R.L. reviewed by Tomoe Hill on Minor Literature[s]

I was so pleased to read Tomoe Hill’s review of F.M.R.L., published earlier this week on Minor Literature[s]. You can really tell when a writer and a keen reader writes reviews…

[…] In some ways, to say it is a book does it a disservice, although of course it takes the physical form. Words in lines, on pages, familiar structures. But there is a magical disorder to all of these which reveals the logic from its listener-writer as well as creating a new one from the reader’s perspective: those of sound and word, meaning and memory. To read, in this instance is to open someone’s mind and play with the thoughts within, and then delve into your own to discover a kinship.
Her pages are filled with spiralling thoughts, questions that are so imbedded in us – perhaps even assumed unanswerable – that to dissect their nature seems a path to madness sometimes […]

Read the whole review here:



6 August 2015

reFMRL roundup

It started from a series of reflections around curating, as I was thinking of possible ways to present my new book F.M.R.L.
How to curate-generate, instead of curate-control?
How to avoid/play around acquired formats of ‘readings’ and ‘author Q&As’?
How to work with presence rather than absence?
How to combine my ongoing interest in framing and juxtaposing, with live events and performances?

Below are some traces, voices and murmurs and silences, drawn from the events in the series so far. They were generated by asking artists to work with the book as material for further thinking, quieting, performing, writing, voicing, sounding. I am still overwhelmed by the range of responses and by the generosity of all the artists involved – and I look forward to more…

2 June 2015
Conrad Kemp and Maia Urstad, Jeremy Welsh, Signe Lidén
Bergen, Ostre

Conrad Kemp and Maia Urstad:

6 June 2015
Christian Patracchini, Eleanor Vonne Brown, Georgia Rodger, Jess Chandler, Helena Hunter and Mark Peter Wright
Hardy Tree Gallery, London, at http://www.stevenjfowler.com/mahu

Christian Patracchini  https://www.youtube.com/watch?v=9E_qD4qYRMk
Eleanor Vonne Brown https://www.youtube.com/watch?v=lnpu4LXeJ38
Helena Hunter & Mark Peter Wright https://www.youtube.com/watch?v=XSzGmgCrBYA
Georgia Rodger https://www.youtube.com/watch?v=b0wF6bkV2BE
Jess Chandler https://www.youtube.com/watch?v=NDtrOIp6wLM

25 June 2015
Ora, With Salomé Voegelin and guest readings by Aya Kasai, Clodagh Simonds, Helena Hunter, Joanne Lee, Patrick Farmer.
Resonance 104.4FM

Listen: https://ora2013.wordpress.com/2015/06/29/ora-22-audio/

20 July 2015
Christian Patracchini, Colin Potter, David Toop, Elaine Mitchener, Georgia Rodger, James Wilkes, 
Patrick Farmer and Trevor Simmons
, Richard Skinner, Rie Nakajima, Salomé Voegelin, Steven J Fowler.
Café OTO, London

Elaine Mitchener https://www.youtube.com/watch?v=PAsqtT7ucrA

Christian Patracchini https://www.youtube.com/watch?v=YUy8UfD6sqo

Salomé Voegelin https://www.youtube.com/watch?v=g2o5aGvlMw4

James Wilkes https://www.youtube.com/watch?v=hLAlkhKxPss

Christian Patracchini, SJ Fowler, Richard Skinner, Colin Potter, Rie Nakajima


















** many thanks to SJ Fowler for the videos

3 August 2015

Ora: Multisensory Conflict

Listen to Ora: Multisensory Conflict, a text/sound performance by Salomé Voegelin and I at CRASSH Cambridge, 8 July 2015 – where we played sounds and read texts by Eliane Radigue, Curzio Malaparte, Jackie Kay, P16.D4, Ross Bolleter, Primo Levi, Keiji Haino, John Cage, Kathy Acker, Arturos Bumsteinas, Club Moral, Paul Celan, Yellow Swans, Merzbow, John Fahey, Abdul Basir Watanyar, Adrienne Rich, Coil, Alain Badiou, Hakim Bey, Steroid Maximus, Franco Battiato, Lydia Davis, Ryszard Kapuscinski… No score or preparations – as usual, we brought texts and sounds to the venue, listened and responded to each other’s voices and rhythms:


29 July 2015

Screams, Dreams, Psyche and Pilgrimages / FMRL on Earlid

An in-depth response to F.M.R.L. and an interview in which my voice appears transformed, disconnected and reconnected, are now available on Joan Schuman’s Earlid. Featuring screams, dreams, psyche and pilgrimages:
[This is probably the first time when my senseless nervous laughter makes some sense…]

10 July 2015

F.M.R.L. at Café OTO, 20 July 2015

The evening will feature responses to, remixes, readings and re-readings of F.M.R.L. by Christian Patracchini, Colin Potter, David Toop, Elaine Mitchener, Georgia Rodger, James Wilkes, Patrick Farmer+Trevor Simmons, Richard Skinner, Rie Nakajima, Salomé Voegelin, SJ Fowler.

Details: https://www.cafeoto.co.uk/events/daniela-cascella-fmrl/

Tickets: http://www.wegottickets.com/event/319308

This event is the fourth and last in the reFMRL series, that challenges the conventional format of the book launch to work instead with the book as material presence, and to enhance the polyphonies that inhabit and form F.M.R.L.

Christian Patracchini’s practice explores a code of gestures that investigate their potential and modes of existence in relation to their own privation.

Colin Potter is a sound & recording engineer and performer who has been working with unusual music and noises for over 30 years, both solo and as a member of various ensembles, most notably Nurse With Wound.

David Toop is a composer/musician, author and curator who has worked in many fields of sound art and music, including improvisation, sound installations, field recordings, pop music production, music for television, theatre and dance.

Elaine Mitchener is a vocal artist working with improvisation/sound-text & movement.

Georgia Rodger’s works often stage the act of making as a performance, exploring this as a mediation between body and tools.

James Wilkes writes poetry, scripts for performance, and criticism. He has collaborated widely with scientists, artists, composers and poets, and is Associate Director of Hubbub, an international interdisciplinary team exploring the dynamics of rest, noise, tumult, activity and work as residents of the Hub at Wellcome Collection.

Patrick Farmer and Trevor Simmons are thinking of writing about, and drawing, even-toed ungulates.

Richard Skinner is a novelist, poet and Director of the Fiction Programme at Faber Academy.

Rie Nakajima works with sound and space applying kinetics and found objects.

Salomé Voegelin’s curatorial and writing practice is concerned with listening and hearing as a socio-political practice; her artistic practice involves sound and text works in collaboration with David Mollin.

SJ Fowler is a poet, artist, curator & vanguardist working across text / sound / performance.



29 June 2015

reFMRL 3 : audio

Listen to reFMRL 3: Ora 22, where Salomé Voegelin and I read from and talk about my book, with guest readings by Clodagh Simonds, Patrick Farmer, Aya Kasai, Joanne Lee, Helena Hunter.





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