Moonflower, 2021 or, a scarlet transfer : For Margaret Mee (1909 – 1988).

poem essay in The Ethnobotanical Assembly (TEA)

https://www.tea-assembly.com/issues/8/moonflower-2021-or-a-scarlet-transfer

Details of the full issue and introduction from Felix Driver and Caroline Cornish below:

https://www.tea-assembly.com/

Review of issue from Herbarium World

Weather, Whether Plume: Extract

preface I

A question of measurement arises both in relation to weather and noise. How to take a ruler to the weather or a gauge to more than rain: the flicker of wings in swarm, a memory of crushed insects on a car windscreen.

The naming of clouds proves a starting point. In possibility we name the shapes as if to produce an inventory of natural phenomenon of the unnoticed or forgotten. A change in climate affects the dew point. An increase in humidity magnifying the effects of heat waves. A body unable to cool.


Noise of silence as music is not a new approach. Thunder sheet. A roar on the other of silence. Go back into the things dismissed as noise with new parameters of attention, make new sense of the data. Parameters set while agreeing that it cannot know how to in advance of itself. A process of unfolding.


Distinctions between central and peripheral tone are eroded or bagged out into new stories. This is not about the expansion of everyday sounds into music but concerns the attention and tuning of location to the everyday.


Once the containers and containment of measurement are exhumed we find ourselves in the frame as prime enemies of climate justice and more. Facts picked up in the data with the question of what is noticed, how and for what purpose?

How to find ways to monitor wildlife in our skies through the repurposing of older technologies once developed for war. Radio Research. Research Radio. The colocation of the question.

What was later a possibility for the detection of insects began with the identification of destroyers.

‘To Quill At Film’

“I drew a plan of the filming instrument. The writing drew within the field of the camera and the filming commenced. The hunting, filming and capture of wild form. I drew a plan of the writing instrument as a poetics as a film for showing in live performance as a writing of day for night. Situations in which I might be expected to film writing occurred and I was drawn to the archives and made them in the everyday. The bear was filming a commercial in the Western Isles when he swam off to take a partlet in the making of (a film) as a writing implement, or a piece of lace, or a feather. The filming of this is put last as pure speculation to give the camera time to catch up, or to open it to the viewing public for redistribution by other means . . . .” from ‘To Quill at Film’ by Redell Olsen

Out Now: Trenchart / Logistics

TrenchArt: Logistics

Dodie Bellamy

Alice Könitz

Redell Olsen

Chris Tysh

Divya Victor

 

Aesthetics
Edited by Teresa Carmody and Vanessa Place

Back cover image: Alice Könitz
Introduction by Vanessa Place
Binding: Metal binding clip
ISBN: 978-1-934254-48-6
Pages: 44
Price: $60 [1 of 5 books in set]

Hand-bound in an edition of 250, TrenchArt: Logistics introduces the eighth annual TrenchArt series, with aesthetics written by participating series writers and the series visual artist, Alice Könitz. Of the aesthetic essays, Vanessa Place notes in her introduction that “partial objects are proudly on parade: mouths, cunts, cuts of tongue, and the skin-surface of films/film-surface of skins.” Each of the books in the Logistics series uses the cut, and cutting, as an organizing principal. Additional series titles include: Our Lady of the Flowers, Echoic by Chris Tysh; Film Poems by Redell OlsenCunt Norton by Dodie Bellamy; and Things To Do With Your Mouth by Divya Victor.

Get an extract from the introduction by Vanessa Place here