TO SERIALISE

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Serialise II
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She will not wonder to clasp clasp clasp
Clasp
Milk here not improving round stain
Squared while metal dots
Polarise polarised
Crackling paper rattle face
Coins get a lid sound ex explode
No yes 321 for safety
Now each following forward no
This affect open euro no nge
Sally is 2E flying to
31 July wrinkled hands
Rest head on side lay
Rest feet on shoe
Giving of a side long glance
Young victim in DMS
Post 2C shakes
Abstracted aquamarine floral
Rotatated floral blue
Breaking of shortbread fingers
3C reads a Russian diary
Pathetic selection hand on
Page 2D has bald poreal induced
Hair.
3F stripes for walls 1E sprinkled hair
There no raise back no
Belt over belt over buckle over you
Eye
The lake of Inishfree bulged
Through wide range now one
From up Curras
3 lace holes
Not on hard written no lean to lean
Squared excited make behind
Clear box floats
Just to recognise eye over eye
Will it?
Had dawn frown tan watch
Side boy undo – ACTION here
Is a way to pass pass pass
On time

[One second
Two second
Three second
Four second
Five second
Six second


Seven second] this is not real time\

NOW WHEN YOU BECOME I ALL
HE SPEAKS AMERICAN
HE SPEAKS CHILD
HE SPEAKS

Dot to re-enter ghost space
Form illuminous line
That
A break of hawaIian flowering
A cross his chest
Re-depending bass
I
Flaming fields sachet on the
Flour
The hour look like house from
Here
To

The Circle Line: LIVE

The Circle Line: LIVE

Thanks to the lovely people at UTROPHIA for hosting The Museum of The People.

TO SERIALISE

To serialise

in context of data storage/transmission, serialise is process of converting object toward sequence to be persisted to be storage medium. Transmitted a connection link. Re-reading series REread according to serialisation format. Semantically identical of the original object. Complex objects; these that reference, process not.

To serialise object is deflating. To inflate object is deserialising.




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Serialise I
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He said now we written in
An evening (and) circle where?
What for an hour looking on
At structure maybe a ther
Or one at different building
The looking up of it or
Diff erent on cruise a
Down
Spending on a

Divided into TWO facing triangle
Dangerous not the same day
a a a a I mean is it
I figure to inter grate an
Discuss inter up tion SIP
Reflect of a blue floating
Do your eyes widen too?
Fork only to left follow
Grate
In my communication

Asking is suitably by coded
Drew on a far knowledge
Potassium based to fault
Give me- her abbreviation is
Most use full


Do fixing neon dressing down
Warn cheeks from a whole
Milled milled
Mill ED
Where
Change, of a minute. You hand
One hip out stirring
Its not who you
A phone call alter of not
When her spoke rum tasting
Not bake it down
Form of, over resting in hair
Withstanding not closeness
EAGER to lend to lay to legotiate
Forming upwards covering knuckles
Lasting too. On stop lean not
Over for with deciding lean
Meeting ripple forming upwards
Static is whereabouts. He
Licked my bruise. Can a cross
Ing flow again now lasting for
De-wards dis-
Ph poly can remark over face
Settling de-set plea crossing over
Too mixed up eyes.

BATTLING BATTLES BATTLED

The Result of BATTLING: a room of INTERPLAYS

read this now.

circling a response

Response writing: from this to:

I am rereading your current writing of reading and making in a process of this performed act of the essay writing as a reading of thought in a writing of the the reading. Negotiating your reading of a writing of a reading text. This future of a reading and writing relationship is dependant on the conditions of these “reading”, “writing” and “voicing” strategies. The voicing is a voiced reading experience of writing. Circle comes to mind. Let me circle through voicing your reading.

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EVENT: Every Day A Battle

Wet Ink and Scenery Chewer Present ‘Every Day A Battle’

Wet Ink and Scenery Chewer Present
EVERY DAY A BATTLE

Poets:
SEJAL CHAD
BECKY CREMIN
RYAN ORMONDE
KAREN SANDHU
LAWRENCE UPTON

ALLEN FISHER (ON FILM)

ROBERT HAMPSON (TBC)

Place: Mosaic Rooms ( 226 Cromwell Road London SW5 0SW )

Time: Saturday 11th July from 6.30 pm to 8.30 pm.£5

All proceeds to go to charity.

We seek, for an evening, to revisit the notion of Earls Court as cultural battleground. This event takes inspiration from Peter Barry's book Poetry Wars: British Poetry of the 1970s and the Battle of Earls Court which uncovers the 'battle' at the National Poetry Society during the 1970s between radical and conservative factions. Thirty-five years after Eric Mottram heralded a 'British Poetry Revival', the question of how to negotiate with the poetic mainstream still infiltrates choices made in the everyday practice of many emerging poets. We present the work of several new poets and hope they will be joined by some of the leading figures of this historical moment to revisit the scenes of an important struggle for creative freedom.

QuestionING

Battling for Earls Court

Writer
Just
Seems
Principles
By
Explication
Dichotomy
Single
To
Do
Kind
In
Of
Text
Stasis
Instead
Coherence
All
That
Essay
Write
Poetry
Moves
Linear
How
Of
Sheer
And
The
Kind
Books
Pointer
Words
Plasticity
Cohere
Vital
Sheer
Whatever
Training
Writer